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National Film Preservation Act

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On October 11, 1996, Congress passed and the President signed into law the National Film Preservation Act of 1996. The law stemmed from almost a decade of professional and legislative concern over preserving an important national heritage. This research examines the problems which gave rise to these concerns and the legislative history attempting to resolve these problems. The 1996 Act is then analyzed in detail for its impact on American films and the political machinations that went into its making.

National Film Preservation Act of 1996

The National Film Preservation Act of 1996, passed by Congress and signed by President Clinton on October 11, 1996, proposes to do two things. Title I reauthorizes the National Film Preservation Board, retained from a 1992 legislation for four years, to continue the work already begun on the implementation of the national film preservation plan for another seven years. The work includes selecting up to 25 "culturally, historically or aesthetically significant films" each year for the National Film Registry and obtaining archival material on those titles for collection in the Library of Congress.

Title II proposes the establishment of the National Film Preservation Foundation whose objective will be to raise funds for the national film preservation plan and to ôpromote preservation of and public access to the American film heritage.ö An annual appropriation of $250,000 will be maintained and Title II allows the foundation to accept and

. . .
octrine is the ability of an author to disclaim his or her work if that work has been materially altered by the copyright owner. Artistic authors are concerned that the public may be unaware of material alterations and of the author's objections to those changes. This issue of public disclosure is an important argument for those seeking to have films that have been altered or modified labeled as such. The film labeling movement has gathered steam in recent years and the film industry has engaged Congress in a struggle to inform the public as to what viewers are actually seeing when they watch a film on home video or television. Creative forces within the motion picture industry commenced their own lobbying effort, galvanized by the ôcolorizationö issue, culminated in the enactment by Congress in the first National Film Preservation Act of 1988. This was replaced by subsequent legislation passed by Congress, titled the National Film Preservation Act of 1991, which deleted from its 1988 predecessor, however, the ômaterially alteredö labeling mandated in the 1988 Act to be affixed to the films chosen for the National Registry by that legislation. Accordingly, American film directors and screenwriters are currently engaged in attem
. . .

Some common words found in the essay are:
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Approximate Word count = 2672
Approximate Pages = 11 (250 words per page)

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