buried in and preserved in the permafrost. This fortunate discovery was shared and moved to the United States' Library of Congress and Library and Archives Canada for transfer to safety stock and archiving. However, to move such highly flammable material such a distance ultimately required assistance from the Canadian Armed Forces to make the delivery to Ottawa. The story of this discovery as well as excerpts of these films can be seen in the 2016 documentary film Dawson City: Frozen Time. Another high-profile restoration by staff at the British Film Institute's National Film and Television Archive is the Mitchell and Kenyon collection, which consists almost entirely of actuality films commissioned by traveling fairground operators for showing at local fairgrounds or other venues across the UK in the early part of the twentieth century. The collection was stored for many decades in two large barrels following the winding-up of the firm, and was discovered in Blackburn in the early 1990s. The restored films now offer a unique social record of early 20th-century British life. Individual preservationists who have contributed to the cause include Robert A. Harris and James Katz (Lawrence of Arabia, My Fair Lady, and several Alfred Hitchcock films), Michael Thau (Superman), and Kevin Brownlow (Intolerance and Napoleon). Other organizations, such as the UCLA Film and Television Archive, have also preserved and restored films; a major part of UCLA's work includes such projects as Becky Sharp and select Paramount/Famous Studios and Warner Bros. cartoons whose credits were once altered due to rights taken over by different entities. Studio efforts In 1926 Will Hays asked for film studios to preserve their films by storing them at 40 degrees at low humidity in an Eastman Kodak process, so that "schoolboys in the year 3,000 and 4,000 A.D. may learn about us". Beginning in the 1970s, Metro-Goldwyn-Mayer, aware that the original negatives to many of its Golden Age films had been destroyed in a fire, began a preservation program to restore and preserve all of its films by using whatever negatives survived, or, in many cases, the next best available elements (whether it be a fine-grain master positive or mint archival print). From the onset, it was determined that if some films had to be preserved, then it would have to be all of them. In 1986, when Ted Turner acquired MGM's library (which by then had included Warner Bros.' pre-1950, MGM's pre-May