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 #:
000514
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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506 Accepting the adage that "a picture is worth a thousand words" we now must mention a very unique part of filmmaking that is pertinent to making and watching motion pictures. Since the early part of the century filmmakers have understood the power of images and how the juxtaposition of any two images can change their individual and collective meanings. Experiments from over a half a century ago have demonstrated that by taking, for example, the picture of the normal face of a man with no expression whatsoever and putting it next to, for example, an image of a grave or sorrow filled sight the audience will associate an emotional feeling with the subject and subsequently project a feeling of "sadness" in the man. Taking that same man's face again and putting it next to a different image, for instance, clowns in a circus or perhaps a couple romantically embraced, will give a very different value to the spectator writh respect to what they feel about the subject's emotions. Change the juxtaposition and you vfiLl in some measure change the meaning. In the architectural construction of the narrative story line the editor uses great care with the building blocks that will give the film its unique shape. In a well wrritten, directed, shot, performed, produced and edited movie the editor will have worked diligently with the director to achieve what all the contributors and the studio ultimately believe to be the best possible version of that movie. Tampering with that delicate construction, after the fact, is damaging to the work. The more that you alter it the more it is something other than intended. Unlike a building that can collapse and do physical harm to those inside, a disrupted or abbreviated film may simply cheat or disappoint the spectator. However,