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)

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449 titles differently, can now be reconsidered. Public institutions still have a long-term role in ensuring that privately owned films that have shaped American culture are available for public study and enjoyment. What we propose here is more clearly defming public and private responsibilities: Profit-making entities have the primary responsibility to preserve their own product and should contribute to public institutions for work done on their behalf. Recommendation 5.1: Restoration Partnerships In what areas do public and commercial interests most closely intersect and warrant special cooperative ventures? Following the directive of the 1992 National Film Preservation Act, we have explored where greater collaboration can bring benefits to all and increase the number and variety of American films available to the public. Drawing upon the task force agreements, we have identified in Recommendations 5.1 through 5.6 several key initiatives. Encourage partnerships between studios and archives to restore nims of special cultural impact or historical value. Particularly for restoration projects requiring extensive research and planning, film owners and public archives can create a better preservation product by pooling resources and expertise. Over the last decade, significant American motion pictures restored through public-private ventures include The Guns ofNavarone (1961), On the V/aterfront (1954), Phantom of the Opera (1943), His Girl Friday (1940), Mr. Smith Goes to Washington (1939), Holiday (1938), The Plainsman (1936), Shanghai Express (1932), early sound shorts by the Vitaphone Company (1927-29), Noah's Ark (1929), and Tess of the Storm Country (1914). Although arrangements vary from case to case, typically partners work together to select titles and carry out the restoration. The studio pays the laboratory costs; the archive contributes the time and skills of its preservation staff and retains copies of the restored film for archival study, exhibition and safekeeping. Task force members, drawing upon their own experience, have developed guidelines to assist interested studios and archives in developing constructive partnerships of this type. Voluntary Guidelines for Joint Studio-Archive Restoration Projects is included as Supporting Document C. The National Film Preservation Board plans to distribute these voluntary guidelines to the film community and promote the concept of collaborative restoration projects. 22 Redefining Film Preservation