Documentary News Letter (1947-1949)

62 DOCUMENTARY FILM NEWS NOTES OF THE MONTH under the terms of the new Films Act separate quotas are to be fixed for British pictures to be shown as first features and for British second features and short films to be shown in the supporting programme. All makers of documentary and specialized films awaited with considerable anxiety the fixing of the figure for the supporting programme. The abandonment of second feature production at Highbury and Nettlefolds studios has re-emphasized the fact that the bulk of the British contribution to the supporting programme must come from those companies at present engaged on the production of documentary and specialized films. These companies have recently carried out a survey of their production capacity which indicates that under proper marketing conditions they could contribute without difficulty 50 per cent of the footage required by British cinemas in terms of second features and shorts. The news that Mr Wilson had named instead a figure of 25 per cent was naturally received with great disappointment. There is no secret about his reasons. It is clear that he feels that the figure should be based largely on current output rather than upon the output which might result from an encouragingly high quota figure. He — like the production companies themselves — is worried by the poor marketing conditions which at present inhibit the supply of British second features and shorts. The processes of Mr Wilson's logic are, however, challenged by many members of the industry, who argue that better marketing conditions can only follow the fixing of a high quota percentage and will never precede it. Certain it is that some bold action is called for from the Board of Trade if the present vicious circle of supply and demand is to be broken. It is probably true that the present output of the documentary and specialized companies cannot even contribute a 25 per cent quota in terms of theatrical second features and shorts (as distinct from non-theatrical products). But will their output ever equal their potential productive power unless a high quota figure is one day fixed? In the meantime, it behoves all workers in documentary to see to it that the present opportunity which even the 25 per cent quota provides is not wasted. Very roughly, it means that in every cinema programme in the country there could be on the average fifteen minutes of film emanating from the Cinderella companies of the industry. In the aggregate, it represents a considerable footage and it should stimulate a considerably higher output of documentary films of four to six reels than has yet been achieved. Czechoslovakia we have just received a copy of the first number of a new publication Czechoslovak Film, a magazine published in English for the purpose of giving information about the activities of the State Film Industry to the English-speaking world. The paper gives news of films released and in production and we are very glad to see that more puppet films are promised this year — an especially interesting one should be that to be made in colour with the use of glass puppets. The glass figures are supposed to move more naturally than the ones made of wire and rubber which have been used up to now. There is also mention of the film Krakatit based on the novel of the same name by Karel Capek — we hope that this will reach England in the not too distant future. Altogether Czechoslovak Film is an interesting and useful publication and we could wish that many other countries would follow the example of the Czechoslovak film industry in sending us news of their activities. American Film Magazines a clause in Schedule A of the new Films Act gives the American film industry authority to use monies accruing in this country for 'payment arising from the acquisition and publication of periodicals relating to motion pictures'. Up to now none of the cinema publications in this country have been either whole or part financed by America. We feel that this clause is potentially dangerous and we wonder how it will affect the field of British film magazines. Many new ones have sprung up during and after the war years — some of the serious type and others of the purely 'fan" variety. Does this mean that the market will be glutted with "glossy" papers designed to whet the appetite of the British public for more American films'.' The situation needs watching. Rita Hayworth Gets By with the Censor (see article opposite)