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 #:
000513
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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505 simply not getting the so-called "original version" of the film that people paid admittance to see in the theaters. In a hypothetical case, if I decide to take Dances With Wolves, which ran over three hours, and compress it to 1 20 minutes so it can fit onto a single video tape, is this in fact the same film that the world perceives as Dances With Wolves, or is it not in fact a condensed altered version of the original film? Is it ethical to sell a shortened by onethird version of this film in the same video box, with the same cover art as the original, without noting, in fact, that it is a different product than the film that we have come to know as Dances With Wolves. We believe that it is not. We believe that the principal authors of the film have the right to object and that the video box should list their objections, and clearly Ust the alterations. THE INTEGRITY IN CINEMA AND THE PROBLEMS OF CHANGE: The aim and function of every cinematic work of art is the connected and sequential exposition of a theme, through material, plot and action. This is accomplished through the simple matter of telling a connected story through the logical construction of well crafted images which evoke emotion and excitement. In the typical nmning time that is usually allotted to the screening of a film in a theatre we take care to use that special time wisely. For many obvious reasons it is not possible for us to tell everything in normal real time. We must construct another kind of time that is based uniquely in the perceptions of our audience. Through the course of action we must produce a living impression on the spectator. We do this by creating a specific sequence of representations that demonstrate our concept.