The Cine Technician (1953-1956)

136 THE CINE-TECHNICIAN October, 1953 FILMS IN RUMANIA Cine is glad to publish this concise survey of conditions in Rumania's Film Industry, as a contribution to closer understanding between film technicians everywhere, but does not necessarily endorse opinions or confirm optimisms here expressed. RUMANIAN cinematography was practically nonexistent before the war. The 1938 Film Daily Year Book records that " one feature-length film was produced during 1937. The National Tourist Office scenic shorts aroused little interest . . ." then, by way of general information, " to make a featurelength film foreign equipment is borrowed . . . Funds are usually furnished by the husband or ' friend ' of the female lead," and " in 1934 a decree creating a Cinematographic Fund was issued (but) although collections are estimated to have exceeded £140,000, nothing of importance has been realised." Post-war changes have brought with them the establishing of a national, and nationalised, film industry. It is one which is yet very much in the process of growth and development in all its branches. But already the contrast is notable. While demands for equipment and film stock must at present largely be met by purchases from the Soviet Union, Czechoslovakia and Eastern Germany, Rumanian-made cameras and projectors are beginning to come from the factories, and the chemical industry contributes to self-efficiency. Space does not permit of an exhaustive survey of this new Rumanian film industry, but some points may be picked out. It is controlled by a Committee for Cinematography attached to the Council of Ministers, which means that it receives attention at the highest level. Investment and production are planned, finances are assured, and there follows a continuous and steady expansion of the industry. Short-time and unemployment are unknown. Students or trainees come to film in a number of ways. Much is done to publicise the industry and to acquaint youngsters with details of and prospects in the various branches. Those interested take an entrance examination for the technical, art or other courses they wish to follow; and students or trainees who come from a distance are accommodated free of charge by the school they attend. There are, at present, three two-year schools for projectionists and electricians, a day and an evening class school for technicians, with a four-year syllabus, a higher school for technical-administrative personnel, with a one-year course, an Institute of Cinematographic Art where artists, directors and cameramen are trained, and a one-year specialised higher school for film editors. At the Institute, students attend classes and discussions on the following, besides their own special subject.': : history and aesthetics, the history and theory of cinema, the history of Rumanian and world literature (drama more particularly in the case of actors), film music, d6cor for film, production organisation, etc. Every attempt is thus made to provide a sound cultural background and all-round appreciation of film work. Conditions and terms of employment are good. For instance, pay for actors, many of whom have theatre engagements too, is according to the scale of salary normally received, that is, in keeping with professional attainment. Not only is shooting time paid, but also all rehearsal time, and any time when shooting may be interrupted but the actor is present. Throughout, the actor receives a basic salary from his theatre; and like other members of the production unit he gets a bonus for going on location, when, in addition, the studio pays travelling expenses and fixes accommodation. Screenplays come from writers of all kinds, those in journalism included. The Committee for Cinematography keeps in close touch with the Rumanian Writers' Union. The Committee has a Scripts Department which assists the writer in dealings with the studio — feature, documentary, cartoon — for which he may be working. The Writers' Union has a scripts committee which arranges discussions, viewing of films, and meetings between writers and film makers. The Union also helps writers of screenplays to gather material, facilitates necessary travel, and places its rest homes at their disposal. Together, Committee and Union have outlined a plan of themes for films which might be scripted and shot during 1953-55. Subjects are events and personalities outstanding in the history of the movements for national independence and social advance — those of 1848, for example — and aspects of present reconstruction. But this is not limiting or binding, as recent productions show; other subjects emerge, from a fine documentary on regional folk art, costumes and traditions to the dramatised versions of three sketches by Rumania's excellent 19th century satirist, Ion Luca Caragiale. Films, however, must be left to a separate article. During production, meetings of different technical groups take place generally once a week and those of each unit once a month. Producer, director, editor, and sometimes representatives of other members of the unit, usually meet every evening to plan the next day's work. Full meetings of a unit are open and lively. Everyone is entitled to join in; what a studio carpenter has to say may bear on the editing of the film, and a cameraman may help right administrative inefficiency. Last, but far from least, the trade union movement plays an important part in the Rumanian fi'm industry. Trade union organisation is divided into sections according to places of work — studio floor, laboratories, offices, and so on. All belong to the Bucharest Art, Radio and Cinema Workers' Union. This in turn is linked to what is called a Central Union, covering workers in press, printing and cultural institutions, which has direct representation on the Central Trade Union Council. The trade union movement ensures that its members enjoy the rights, stipulated by the Code of Labour, to social insurance — handled by the unions, not a government department — paid holidays, facilities for education and recreation, etc. It also helps to improve working conditions and methods, and so to develop production. The place accorded film in Rumanian national life, the support, public and material, it receives, and the part played by trade union activity in the industry make real these words of the Prime Minister : " This is the organic approach of democracy and the labour movement to culture." Bernard Joseph