The Cine Technician (1953-1956)

July-August. 1952 THE CINE-TECHNICIAN 79 had — and so had the electrical wholesaler, who ordered the switch, and did a good trade in these imported switches from then on. Just to give an idea of some of the strong financial links between Hollywood and business, let me remind you that oil companies and airlines have money in 20th Century-Fox, Warners have links with cars and iron and steel, and amongst those who can call the tune with Paramount are manufacturers of rubber, cars, oil, whisky and coca-cola. Sometimes the links are with Wall Street, who in turn have bonds with all businesses, as in the case of the tie-ups between Columbia and banking, and R.K.O. and big brokerage. And recently the deal between Decca Record Company and Universal, when the record company replaced J. Arthur Rank as the largest individual shareholder in Universal, shows how these links cross the oceans. So much for the way ordinary entertainment films can subtly help trade. Exactly the same case, of course, can be made out for shorts and documentaries; this was brought home to me very forcefully when, during the campaign to save the Crown Film Unit. I learned of some of the corners of the world that C.F.U. penetrated — places that our feature films never reached. Now, thanks to Mr. Butler and his axe, that avenue is closed to Britain. But the U.S.A. never forgets that films are a valuable piece of trade in themselves to her; and in the realm of politics films tell the world of that famous American Way of Life and help glamourise the views of the rulers of that country. For all these reasons American producers have no difficulty in enlisting the aid of the State Department in bolstering up the dominance of Hollywood pictures. Everywhere that there is a United States embassy or consulate, official informers report on the success or otherwise of Hollywood films and of what native producers and equipment manufacturers are doing. But the diplomats do more than collect facts and figures; for thirty-five years the whole machinery of the U.S. Government has fought ruthlessly year in year out for her films, against all others. Innumerable examples from other countries have been given in the Cine -Technician (e.g., " Crisis in France." by Louis Daquin, September-October, 1947; "Film Industry Dilemma," JulyAugust, 1949). One recent case is that of Spain, which had a system similar in effect to our Renters' Quota. A few visits from the ubiquitous Eric Johnston, and now Variety April 2nd) announces laconically, "An agreement was recently concluded with Spain." But perhaps the most blatant example is the way American diplomats forced Britain to abandon Renters' Quota — the very foundation of protec tion for the British industry — through the instrument of the General Agreement on Tariffs and Trade. It is significant that GA.TT, as it has become known, is something that other British industries also regret. I believe that workers in the textile trade, for instance, can be valuable allies for us in our fight in defence of British films. Without a doubt, on Britain's ability to combat such things as GATT depends the reopening of our dark and empty studios — and work for our members in feature and shorts production. Our experience during the war years proves that we have the talent and the technicians for a far bigger programme of British films. We have the studios (that is, if we stop the Teddington-Denham-Isleworth trend), and we have the subjects for truly British films; this question of subjects is sometimes smothered by those who think that tradition and culture are too highfalutin' to intrude into the entertainment industry. Perhaps I can best explain what I believe in by quoting from Cecil Hepworth's autobiography, " Came the Dawn " : " It seemed to me then — and it does still seem to me — that the best hope and the most honourable course for every country is to be true to its own culture, to produce the pictures which are native and natural to it, and to try to tell of the things which are good and worthy about it and its civilisation. Certainly not to poach upon the natural preserves of other lands. Not only because that is rather dishonest but also, and chiefly, because it is certain to be unsuccessful." We need to convince the authorities that films are the most effective means of telling the world of what is best in Britain. But we must first get over any inhibitions we may have about meddling in politics. Nobody can deny the modern fact of film life that National Film Finance Corporation money is the concern of Parliament. So, of course, are the Quota Act and the Wilson Johnscn Agreement. If we are to survive, we have got to exert much more pressure on the Government by all means at our disposal. Let us bring back into fashion that campaigning spirit to try and make the Government do what we film employees want. ONLY "CINE-TECHNICIAN " GIVES NEWS AND VIEWS FROM BRITAIN'S FILM TECHNICIANS Published every two months, a year's subscription costs only 6/6, post free. ORDER NOW. YOU WILL THEN BE SURE OF GETTING " CINE-TECHNICIAN " REGULARLY