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FINANCING
* Traaslaior's Xote : The word producer is used for two executives in the fihn industry, the financial sponsor and the studio executive directly responsible for supervising a film through its stages of production. It is the financial sponsor to which reference is made in this section.
Who is the Sponsor-:
Why is the film as it is and not as it could be and should be; To answer this we must inquire about the sponsor.
The sponsor o( the film, since 1920, has been the anonymous film trust, a purely financial enterprise which, because of its nature, pursues primarily commercial aims. The more expensive film production became, the more the film became a purely stock market concern: this can be illustrated by any American stock market report. Seen from the producer's* viewpoint, the fdm is merchandise, and as merchandise, it must bring a profit. To be profitable, it has to please as many people as possible. What pleases people; That is the crucial question for all film production.
The American films of the 'thirties and 'forties show that prociuctions may sometimes have artistic and spiritual pretentions if they can still find their markets. For this reason films can be produced which expose to criticism the economic and social situations on which film production itself depencis. hi such cases art, human sincerity and the criticism of society are never the real aim but only a means to secure the market.
In some countries the state is the sponsor of the films. In this case it is imperative to consider whether the film is used as a democratic instrument or as an anti-democratic instrument. By 1919 Russia had nationalized its entire film production. After the end of the Second World War, Poland, Czechoslovakia and Jugoslavia proceeded to nationalize their film industries completely. The film became a pronounced anti-democratic means of state propaganda in Fascist Italy and National-Socialist Germanv.
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