Richard Edlund, A.S.c. Charles Lang, A.S.C. Robert Surtees, A.S.c. Joseph Ruttenberg, A.8.C. Arthur Miller, A.S.c. *Robert Burks, A.S.C. **George Barnes, A.S.c. Ernest Haller, A.S.C. Russell Harlin, A.S.c. **Vittorio Storaro, A.S.C. *Caleb Deschanel, A.S.c. Russell Harlin, A.S.c. *Vilmos Zsigmond, A.S.c. *Leon Shamroy, A.S.C. *Frank Planer, A.S.C. **James Wong Howe, A.S.C. William Fraker, A.S.C. Russell Harlin, A.S.C. *Charles Lang, A.S.C. *Charles Rosher, A.S.c. Charles Lang, A.S.C. **Joseph Ruttenberg, A.S.C. **Arthur Miller, A.S.C. *Nestor Almendros, A.S.C. *Ted McCord, A.S.C. Leon Shamroy, A.S.C. **Russell Metty, A.S.c. *George Barnes, A.S.C. Robert Burks, A.S.c. Peverell Marley, A.S.C. Borris Kaufman, A.S.c. *Robert Surtees, A.S.C. *Don Peterman, A.S.C. Richard Edlund, A.S.C. Leon Shamroy, A.S.C. *Robert Surtees, A.S.C. Mr. KASTENMEIER. Now we would like to call on Mr. Stanley. STATEMENT OF FRANK W. STANLEY, PRESIDENT EMERITUS INTERNATIONAL PHOTOGRAPHERS GUILD Mr. STANLEY. Thank you, Mr. Chairman. I am delighted to be before you and this committee. On my left side is a gentleman from the staff of our union, Bruce Doering. My name is Frank Stanley. I have 40 years experience in the motion picture and television industry and as a cinematographer, I have directed the photography on more than 40 feature films and dozens of movies for television. I am a member of the Academy of Motion Picture Arts and Sciences and I have served on its board of governors. I speak to you today as the president emeritus of the International Photographers Guild, the largest and most influential photographers' organization in the world. Although I am pleased to testify before the committee, I must say that the guild's 2,600 members are mad as hell. We are mad because a present U.S. law is a onesided patchwork that gives us lip service to moral rights while it encourages producers to pan and scan, colorize, indiscriminately edit and otherwise materially alter motion pictures without having to even consult any of the film's three principal creative artists, namely the director, the writer and the cinematographer. We are mad because the cinematographer is the author of the photographic image that appears on screen. And yet we see these images being defaced, omitted and tarnished on a regular basis. The cinematographer brings to life the writer's script and the director's vision. In directing the photography, he or she utilizes light, shadow, space, the tones of black and white or color to delineate moods and define the emotions which audiences ultimately embrace. Is my honor and reputation protected when the most beautifully lit and poignant scenes in "Breezy" or in "Ten" are edited out of the television version? Is Gordon Willis' brilliant photography, Francis Ford Coppola's direction or screen play protected when the local TV station version deletes Robert DeNiro's entire performance from "Godfather I or II?" We are also mad because, as American citizens, we see that the lack of moral rights threatens to destroy our film heritage. If American law remains unchanged, future generations may actually never know that "Casablanca" or "Miracle on 34th Street" was originally filmed in black and white or that in its theatrical release, Milos Forman's production of "Hair" contained nine additional musical numbers. It is also worth noting that under present copyright law multinational and foreign corporations such as Sony, are now considered to be the, "authors" of such classics as "From Here to Eternity" or the "Battle of the Coral Sea and King Rat." To reverse this ominous trend, it is imperative that Congress address this imbalance of power. Clearly the insertion of disclaimers or labels do not protect the rights of film artists or the right of the American public to its film history. On the contrary, the small cost of labeling does not deter film producers from defacing films. At |