If you take film as an historical document - and all films, even the bad ones, are documents of their time and place - then altering a film is tantamount to altering an important piece of history. It is like finding a spelling mistake in the Magna Carta and pencilling in the correction. Sure, it is now gramatically correct, but it is no longer the original film.
A film is a product of not only the time and place, but of its filmmakers' headspace at the time. George Lucas can protest all he wants that he would have made a different movie if he could have, but the fact that he made what he did at the time is just as important as what he "might have done".
Similarly, the alterations to the edited versions of Fantasia and the package features might be out of some sense of political correctness NOW, but their inclusion would give us an important look at what was/wasn't acceptable at the time.
Then there is the OTHER example of digital restorations. Whether it is a "simple" touch-up or a full remaster, these prints alter the original by necessity. I remember the documentary on the remaster of Hitchcock's Vertigo that talked of recolouring scenes and hunting down original paint samples of cars to do so. The new print is colour-accurate, but technically NOT THE SAME. Is this an alteration? Technically, yes. One we can live with? We do all the time. Almost every classic Disney film has undergone this.
Which brings me to my next point. I have no problem with countless directors cuts, special editions and re-edits, as long as we still have a point of comparison.AwallaceUNC wrote:I generally have no problem with changes to movies, so long as the original is made available as well.
After all, if we erase ALL the mistakes of the past, filmed or otherwise, what will stop people from making them again?