The Educational screen (c1922-c1956])

fee. Therefore, my rental fees must be lifted to $6.00 or $8.00 each before I can recover my investment from 10,000 uses of the film. Because my film is only 25 minutes long, $8.00 is the top rental the churches will pay. Therefore. I will charge $8.00 per rental and hope that more than 10,000 churches will use the film so that I can pay interest on the money I borrowed and earn a small profit! In view of the situation described above, it is easy to see that if one church books a film and makes it available free of charge to another, the producer is deprived of his rightful return on his film. What the Law Holds This right of the producer is recognized by law. Probably very few laymen realize it, but the law which applies in this case is the Federal Copyright Law. The United States Courts have recognized that the socalled rental fee for a film does not simply cover the rental of a commodity for a period of time to be used as the rentor sees fit, but that it is actually a license fee paid for "copying" the film at a specific time and occasion and in a specific location. The courts hold that when a film is projected, it is copied on the screen, even though the copy of each individual picture (frame) lasts only for a fraction of a second. The laws are exceedingly strict and hold that rental fee pays for the license to use the film only in accordance with the terms on which the film is offered to the user. When Violation Is Proven Interestingly enough, if the individual who has obtained a license to use the film in a certain place offers it for use by another individual in another place and on another occasion, and the film is thus used, both parties are considered guilty of violation of the copyright. Suits may be entered against the offending parties, either on a criminal or civil basis. When violation is proved on a civil basis, the law automatically assumes that the damage to the licensor is valued at a minimum of $200 on each count. This law also applies to a film library which illegally acquires a film and rents it to a customer. Obviously, very few producers would be brash enough to enter suit against a church for violation of copyright, but it is well to know that the law does cover such situations. We in the church field must assume that when the churches, and persons responsible for church programs, understand their obligations and responsibilities in regard to the rental and use of films, they will abide by these responsibilities. We would suggest, therefore, that when films are being ordered for church use, it is wise to become thoroughly familiar with the terms under which films are offered for rental and acquainted with the character of the agency offering them. From the purely practical view of the long-term possibilities, it should be obvious that the continued production of quality religious films is not possible unless the producer has a fair and reasonable opportunity to recover his costs. It therefore behooves all who are interested in the future of the religious film movement to make every effort to see that rental terms are observed so that the financing of religious films can be put on solid economic ground. (HIIKIIIIIII IMIIItlltlllllf ■ KllllltlMllllltllllKIMtllll' looking at New Films The 18-minute film The Wedding Feast and the 20minute film Belshazzar's Feast, both in black and white, are from the J. Arthur Rank studios. The 10-minute color film The Good Samaritan is also a Rank release. All three are available in this country through United World Films (1445 Park Ave., New York 29). The Wedding Feast is a dramatic film based upon Luke 14:15-24 plus verses 11, 12, and 13 of the 22nd chapter of Matthew. Belshassar's Feast is a film-sermon based on the 5th chapter of the Book of Daniel, with the sermon elucidating the meaning of the writing which appeared on the palace walls during the feast. The Good Samaritan is a puppet presentation of the story with the commentary giving the words of the Scripture. The Wedding Feast sets out to state the story ; not to interpret it. But in retelling it on film, the story is indirectly interpreted to a considerable degree without adding anything at all of significance. While remaining literal in its interpretation much of the way, it departs from the text quite a distance in certain parts. There is much evidence that this film was hastily and none too cleverly contrived, and on the handling of content it scarcely earns a "B" rating in my book. Technically, the film falls in the same or a lower bracket. Most of the photography is head-on, lacking in artistic effects, with many of the sets insufficiently lighted. The soundtrack varies in quality, and at the very beginning the sentence which gives the setting for the story is a total loss so far as the audience is concerned. The background music is satisfactory. This film is for youth and adults, and could be used as the background for a sermon on "The Robe of Equality and Humility" which all must put on when in the King's presence. Belshazzar's Feast is called a "film-sermon" in the subtitle. We understand Mr. Rank has considerable interest in this type of film, considering this film experimental in character. During this 20-minute film approximately 118 pictures are thrown on the screen. Analyzed roughly, five are dolly shots and two (possibly three) are pan shots. Pictures which we have already seen appear approximately 50 times. We are not only looking at still pictures but approximately one half of the time we are seeing pictures a second, third, and even fifth and sixth time. In itself this tends to relax attention. The minister who is preaching the sermon is brought on the screen some ten or eleven times, always at the same angle. Unfortunately, the elevation of these shots is such that his spectacles cast a shadow across his eyes except, perhaps, in the last two pictures. All these shots are medium close, tending to monotony ; and there are no shots of the listening audience, lessening the sense of reality. When seeing this film, the audience will be looking at still pictures — large black and white murals having no 454 Educational Screen