Copyright term, film labeling, and film preservation legislation : hearings before the Subcommittee on Courts and Intellectual Property of the Committee on the Judiciary, House of Representatives, One Hundred Fourth Congress, first session, on H.R. 989, H.R. 1248, and H.R. 1734 ... June 1 and July 13, 1995 (1996)

Record Details:

Title:
Copyright term, film labeling, and film preservation legislation : hearings before the Subcommittee on Courts and Intellectual Property of the Committee on the Judiciary, House of Representatives, One Hundred Fourth Congress, first session, on H.R. 989, H.R. 1248, and H.R. 1734 ... June 1 and July 13, 1995
Date:
1996
Publisher:
Washington : U.S. G.P.O. : For sale by the U.S. G.P.O., Supt. of Docs., Congressional Sales Office
Volume:
Copyright term, film labeling, and film preservation legislation : hearings before the Subcommittee on Courts and Intellectual Property of the Committee on the Judiciary, House of Representatives, One Hundred Fourth Congress, first session, on H.R. 989, H.R. 1248, and H.R. 1734 ... June 1 and July 13, 1995
Leaf #:
000143
Language:
English
Subjects:
Copyright -- United States, Copyright -- Motion pictures United States","Motion pictures -- Labeling United States","Motion pictures -- Conservation and restoration United States
Collection:
Government & Law and Books
Format:
Books
Contributor:
Boston Public Library
Sponsor:
Kahle/Austin Foundation and Omidyar Network
Coordinator:
Media History Digital Library
Description:
Date Added:
July 19, 2022
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137 When he made the film "Hair" years later, it was his way of celebrating the spirit of freedom he felt that night, of sending a message home to his fellow countrymen still living behind the Iron Curtain, a message that in a free society joy and trust are possible, unlike the despair and paranoia that haunt a country under totalitarian rule. It came from his heart, this film, and it was intended in its small way, to weaken the hold of an oppressive regime over the minds of people thirsty for freedom. The original film had twenty-two songs. When it was shown on television, only eleven survived. The other eleven were cut. You might say that what the audience saw was "Half-Hair." A celebration of half-freedom. And yet it was called "Hair," the screenplay was credited to me, and the direction to Milos Forman. The most fundamental intention of the film was violated, the spirit it was made to celebrate, the energy embodied in its songs— virtually everjrthing it stood for—was violated on television. I'm aware an argument can be made that it is entirely within the rights of purchasers to do what they please with the work they buy. Just as it is arguably within the rights of millionaire X who owns a Rembrandt that won't fit the wall where he wants it hung, to cut six inches firom the top and a foot from the side. In fact he can cut it in half to hang in two separate rooms, if it pleases him. But does he now oviTi two Rembrandts? No. What he owns is a rembrandt, mutilated, altered and destroyed.