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 #:
000479
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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471 universities, festivals, arcliives, etc.). All loans would be subject to prior written approval by the studio. F. The studio would underwrite the cost of all laboratory work and contribute to the cost of the archive's services. Financial arrangements would vary from program to program and depend on the particular features of the project and internal factors unique to each studio and archive. Typically, the studio would cover the costs for laboratory services on those titles approved for upgrade or restoration, and contribute to the archive's direct costs for inspection, evaluation and restoration services. The studio would control the annual cost of the program by the number of titles selected and the types of elements prepared. These costs would be estimated in the budgets prepared by the archive for each title prior to studio approval of restoration work. G. The studio and archive representatives would meet on a regular basis to monitor the work and share preservation information. This might involve one-on-one meetings between the studio and archive, or, should the studio prefer, larger sessions in which the studio meets with several public archive partners to share information on joint projects and preservation issues. Drafted by the Public-Private Cooperation Task Force: Mary Lea Bandy (Museum of Modern Art), Raffaele Donato (Film Foundation), Douglas Gomery (University of Maryland), William Humphrey (Sony Pictures Entertainment), Scott Martin (Paramount Pictures), Brian O'Doherty (National Endowment for the Arts), Edward Richmond (UCLA Film and Television Archive). Supporting Document C: Studio-Archive Restoration Projects 47