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 #:
000515
Language:
English
Subjects:
Copyright -- United States, Copyright -- Motion pictures United States","Motion pictures -- Labeling United States","Motion pictures -- Conservation and restoration United States
Collection:
Books and Government & Law
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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507 to the artist it is another matter. The dilemma of breaking up the flow of a film for commercials or shortening it for the purpose of a limited running time creates clear editorial problems in the drama that most often cannot be resolved in order to clearly maintain the integrity of the original work. Yet the auxiliary markets have requirements which in turn obligate the adjustment of films for time constraints, commercial breaks and sometimes, content. These changes unravel the finely woven tapestry of a film. The film editor, in collaboration with the director, often with input from the producer and the studio, work very passionately to achieve the final release version of a motion picture. Then, we agree that this is the Final Version. ("Special editions or director's cuts," when released later, are always labeled as such.) So it is very trouWing to see our work turn up later in venues, containing unauthorized alterations, deletions, time compression, or time expansions (achieved by altering the 'speed' of the picture). For a film editor, dealing in delicate rhythms and counterpoints, it severely demeans our contributions. (Just as it does to the contributions of the actors, directors, cinematographers, etc.). Our names still appear on these works. We would like to hope that the compromise to our work would be noted (as provided by The film Disclosure Acd And we would suggest that this compromise, which obviously affects our film culture and heritage tremendously, might also have an ultimately negative affect on the marketability of the works. Motion pictures are an annuity. To chop up, colorize, speed up, or slow down such long acknowledged classics as The Maltese Falcon or The Treastxre of the Sierra Madre is to actually drain them of the effectiveness which made them classics in the first place.