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And the highest cost of production of these films is about 50,000 yen and the lowest is 5,000 to 6,000 yen each per a film. Atarashiki Tsuchi (The New Earth) is assumed to be an exception, and to require cost 450,000 yen.
4. The number of studio-workers employed in the motion picture industry.
(Cf. Table I)
The number of persons engaged in motion picture industry in Japan is deduced to be about 50,000 men, and the greater part of this is 30,000 workers in the employ of motion picture theatres. As regards manufacturing group there is the table specially investigated very recently, exclusive of 4,000 persons connected with distribution.
5. Treatment of the studio-workers.
To those who engage themselves in unstable business like the motion picture industry lacks stabilized treatment. The operatives did not receive any fixed salary but the sum of money was spent as sundry expense, with the result that senior studioworkers received very large salary and the lower class studio-workers got very small wages. The greater part of the class of people who work in studios get only 14 or 15 yen a month. The record of the highest monthly income received by an actor is the one of Denjiro Okochi, who was paid some 5,000 yen a month from the Nippon Motion Picture Co. (Nikkatsu).
6. The number and the history of motion picture companies.
The condition of their fund and the influence. (Cf. Table II)
Speaking from the historical point of view, the existence of four common cliques and one outsider among the existing motion picture producing and distributing companies in Japan is attributable to the adoption of a block booking system and also due to releasing the pictures all at the same time in the middle sized cities. Since the close of the era Taisho (1926), Nippon Motion Picture Co., Shochiku Kinema Co., Teikoku Kinema Co., Toa Kinema Co. and Makino Kinema Co. stood side by side and each released the pictures of its clique. Later, Teikoku Kinema Co. was transformed into Shinko Kinema Co., Ltd. ; Toa Kinema Co. into Toa Motion Picture Co. and these companies disappeared by scattering to The Takarazuka Kinema Co. and Nippon Cinema Co. and stimulated the creation of Far East Motion Picture Co., while, on the other hand, Kawai Motion Picture Co. changed to Daito Motion Picture Co. and Makino Kinema Co. also failed and P.C.L. appeared. In the meantime, a part of cooperators appeared and tried to collect and scatter the capital of companies, but no con¬ trolling power was equal to the demand of the motion picture market and they failed to change these five cliques releasing their pictures all at the same time.
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