Business screen magazine (1946)

Shell International and the Film For Over Three Decades of Consistent Excellence in Production & Content, the Shell Film Unit Has Earned World Renown and Served Millions of View/ers 'T'HERE Are Over 500 Shell Companies -* operating in about 100 countries around the world, engaged in all phases of the oil and chemical business. Housing the central offices organization of the Royal Dutch/SheU Group companies in London are the buildings of Shell Centre, largest air-conditioned structures in Europe. Within one of these are the cinemas, studios, workshops and offices of one of the world's pre-eminent and pioneer documentary film production groups. For well over three decades, the Shell Film Unit has made noteworthy contributions to the history of the factual cinema. In subjects ranging from precise and fascinating technical treatises on the motor car and the aeroplane to vital aspects of food production, pollution control and the sciences. These highly-creative producers have brought enlightenment and understanding to millions. Today, with physical facilities second to none, well aware of the impending marriage of electronics to film chemistry. Shell films continue to amass festival award tributes and to serve both the Group companies and their publics all over the globe. Edgar .Anstey Produced First Pictures Documentary film pioneer John Grierson's 1934 recommendation to the management of Shell that they begin a "programme of films to show the public the company's awareness of its social responsibilities" laid down the challenge upheld through the years. Edgar Anstey, in later years the Head of British Transport Films, was the first Shell producer. His first film. Airport (released in 1935), is still in the Shell film catalog. It was followed by Power Unit, fore-runner of the series on How the Motor Car Works. Both of these carried significant precedents that were to make this newborn Shell Film Unit of lasting importance. Today, Films, Radio and Television are centered in the Shell International Petroleum Company, service facility of the Royal Dutch/Shell Group which includes among its services to Shell companies throughout the world the centralized production of films. Hugh Wickham is Head of Films, Radio and Television at Shell International, headquartered at the Centre in London. Film Goal: to Maintain High Standard From the outset the intention was that production should be of the highest possible standard in order to reflect the Companies' sense of international responsibility and leadership in fields of science and technology. E.xcept for occasional promotion films, neither the name of the company nor its products are mentioned in picture or sound track within the body of the film. This detachment has served the Group companies well, for today Shell films are accepted and used in the curricula of school systems throughout the world. The earliest plans for this activity called for members of the Unit to be an integral part of Shell's staff — but for creative production people to be engaged from the outside on a consultancy basis. From this decision stemmed the appointment of Sir Arthur Elton as film adviser to Shell and producer for the Unit. It was in this connection that England's Film Centre became associated with Shell — an affiliation which continues to this day. Sir Arthur has remained an adviser thru the years (with the exception of a brief period in the electrical industry) and he is now Consultant to the Films Division. By 1939. the Unit had produced a number One of most widely-seen (and possibly the most memorable) of Shell films is "The Rival World." Production scene shows filming of insect close-ups; water was used to cool high-intensity lights. Shell Film Unit cameramen traveled high and fai to lens sequences for "The Underwater Search" a recent film dealing with oil exploration. Shooting from helicopter door is lensman Ron Bicker of specialized documentary films which found a wide outlet in film libraries and among Shell associated companies operating in territories around the world. The film Transfer of Power, made in that year, marked a new phase in its work. This film, with Elton as producer. Geoffrey Bell as director and Sidney Beadle as cameraman, dealt for the first time witB the historical as well as the technical exposH tion of a subject. Cited by London film critic Dilys Powell as a "dazzling demonstratior of human genius of invention" the film tolc the history of the toothed wheel from the simple lever to the windlass; from the woodei gear wheel for harnessing animals for irrigai tion to the use of gears in all aspects of mod: ern industry. Directors as "Engineering Colleagues" Shell film directors, from that time on have always seemed to become so absorbec in their subjects that they are often thoughi of more as engineering colleagues than as filir makers. This concern for detail and thorough^ ness in probing aspects of content is a basil factor behind the acceptance of Shell's films The Unit was by no means dormant during World War II. Personnel and facilitie; turned to the Government's urgent needs anc 36 films were made, including subjects foi the Admiralty on instruction in the use oi asdic and radar and for the Ministry of Home Security on techniques of civil defense anc rescue. The Unit's wartime activies rangec from filming in a captured German U-boa to deck landings on a tanker converted t( aircraft carrier. The film Malaria, describing the life cycU' of the mosquito and showing methods Q'j lighting the disease, was widely used by British, American, Indian and Australian armiei in every theatre of war where the disease wa!J prevalent. A film on The Sten Macliine Car] hine. produced in strict secrecy, was subtitlet in many European languages and droppei into occupied lands for use by resistanci fighters. With the end of hostilities. Shell's growinj BUSINESS SCREEN • 19«|> iirt