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)

50 Arts and Sciences and the board of directors of the National Academy of Song Writers and she has recently been appointed to the U.S. Department of Commerce's Private Sector Advisory Council of the National Information infrastructure. Welcome, Ms. Bergman. Our third witness is Mr. Edward Richmond. He is currently the curator of the UCLA Film and Television Archives. He is a graduate of the University of Cincinnati and holds a master's in film and television studies from Ohio State University. Mr. Richmond worked his way up from laboratory assistant at the archives to administrative assistant, assistant director, acting director and finally curator. He is the president of the Association of Movie Image Archivists and a member of the Archivist Advisory Council for the Film Foundation. He also lectures and has written several papers on film preservation. Welcome, Mr. Richmond. Our fourth witness is Mr. Edward Murphy. Mr. Murphy is the president and CEO of National Music Publishers' Association [NMPA]. Prior to assuming his duties at NMPA, Mr. Murphy served as President of the G. Shirmer, Inc., a large American music publishing house. He serves on the advisory board of the International Intellectual Property Alliance and is a member of the International Copyright Panel of the U.S. Advisory Committee on International Intellectual Property. He founded the International Cop3a'ight Coalition and is secretary of the National Music Council. Welcome, Mr. Murphy. We have written statements from our four witnesses, which I ask unanimous consent to be made a part of the record. And I ask that you all summarize your statements in 10 minutes or less. I ask that the subcommittee hold their questions of all four witnesses until they have completed their oral presentations. We will begin with the testimony of Mr. Valenti. STATEMENT OF JACK VALENTI, PRESIDENT AND CEO, MOTION PICTURE ASSOCIATION OF AMERICA Mr. Valenti. Thank you, Mr. Chairman. I think copyright term extension has a very simple, but compelling enticement and that is it is very much in the economic interests of the United States at a time when the words, "surplus balance of trade," is seldom heard in the corridors of Congress, when we are bleeding from trade deficits, and at a time when our ability to compete in the international marketplace is under assault. Anything that can be done must be done, then, to amplify the ability of American movies and television programs to keep alive their marketing dexterity in other countries around the world. Europe is already girding its economic loins. They have lengthened their copyright term to 70 years plus life of the author. The Europeans understand all too clearly what the marketplace is all about. And I think in that kind of audiovisual landscape, the United States has to match Europe. It can do so by extending the U.S. copyright term, which will put our term span on the same level as the Europeans. Europeans have life of the author plus 70 years. That means that we would have under works for hire, 95 years as the term extension.