The United Artists CollectionThe Acquisition and Contested Value of Archival Materials Thomas Brami (bio) For the past fifty years, researchers have traveled to Wisconsin to utilize one of the most pertinent archival collections related to Hollywood cinema: the United Artists Collection (UAC). Housed at the Wisconsin Center for Film and Theater Research (WCFTR), the collection documents the United Artists (UA) legal and financial operations from the company's star-controlled phase (1919–51), and it also contains a large number of film materials, including the Warner, RKO, and Monogram Film libraries and the Ziv Television Library. The UAC's unique materials have been invaluable to researchers and institutions interested in studio-era Hollywood and have played an integral role in the dissemination and preservation of American moving image heritage and film history. Yet there remains a dearth of literature on the histories of such important collections, despite the appearance of scholarship in recent years that [End Page 187] has widened the scope of historiographical writing in media studies to include histories of film preservation practices.1 This article contributes to the scholarship on preservation by documenting the history of a particular collection, while at the same time revealing the politics underpinning the collection and the preservation movement more broadly. The first section articulates the network of historical factors that enabled the UAC's acquisition between 1968 and 1970. These factors include the efforts of Tino Balio (the center's director in 1968), the existing relationships between studios and cultural institutions, the heightened presence of heritage discourse in American culture, and studios' financial incentives for making donations to cultural institutions as tax deductions for the amount of the materials' "self-created value." In the second section, this article traces the dramatic history of the collection's contested value. For almost twenty years, the Internal Revenue Service (IRS) and Transamerica (UA's corporate owners) competed to minimize and maximize the allowable amount for deductions. In the final showdown, in a court case in 1988, both sides attached strikingly different amounts to the collection's value. The IRS would allow deductions to the amount of $56,451 for the university property, while Transamerica, on the other hand, claimed that the donation was worth $5,828,041—more than one hundred times what the IRS would allow.2 What accounted for such radically different valuations? I argue that, broadly speaking, the IRS and Transamerica focused on different kinds of value to justify their appraisals: Transamerica focused on the collection's research value and its significance for American heritage, while the IRS focused on the collection's value to collectors of movie memorabilia. Seven different appraisals of the donation materials were conducted over the course of these legal disputes, but the different logic each side used to account for the collection's value in the court case of 1988 was established in their very first appraisals in 1968 and 1973, respectively. However, although they held on to their claim that the materials were significant for American heritage, by the court case of 1988, Transamerica had adjusted its logic to accord more with the logic of the IRS. The court also tried to assume a middle-ground position by awarding an amount closer to Transamerica's claim but argued that it was the collectors' market that gave the material commercial value and denied tax deductions for materials donated after the Tax Reform Act of 1969, which disallowed tax deductions for properties' "self-created value." In the final section, I demonstrate how the court's decision in 1988 reaffirms this law's greatest inequities and problems. I draw from testimonies that illustrate the Tax Reform Act's impact on donations to charitable institutions in the years immediately following 1970 and demonstrate the ways in which they have removed incentives for [End Page 188] archival giving and participated in a general shift toward the privatization of the arts. By placing this discussion alongside the legal and fiscal debates that followed Transamerica's donation to the WCFTR, I examine the ways that the value placed on archival materials has transformed over time alongside this shift toward privatization. In this regard, this study illuminates multiple institutional relationships that determine...
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