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GERMANY* J* IDII EE II GUILTY
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PRCBLEH
cr SOUND
= By Karl Woljjmhn ==
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THE year 1929 is a memorable year in the annals of the German film. It stood for grappling with the sound film problem. I particularly emphasize the words: Sound Film Problem -and not Sound Film Business. This is hecause the sound film was and still is for the time being a problem to the German film industry — a very difficult problem indeed.
It is not only technical difficulties (after all, sound photography is a German invention) but the deplorable economic situation created by the various patent wars which so heavily burdens the German film industry. The establishment of a sound film production requires an enormous outlay of capital. Besides, in order to make use of German sound films in foreign markets, same should be originally produced in several languages. Of what use is it to the. German producer if foreign sound films cannot make their appearance on the German market, if, on the other hand, this means greater difficulties will be encountered in selling his products abroad. Under the circumstances, how is he to get out the capital which he invested in the production of his sound films! This
condition, of course, proves the worst for the largest German film concern, the Ufa, which has invested millions in the installation of its sound film studios and sound film production. The second largest German concern, the Emelka, has already been for a considerable length of time in difficulties.
The German film industry has no reason to be satisfied with the treatment which it has received on the part of the Government. Just as this was the case in the past, a special communal tax is still burdening the German moving picture theaters; furthermore, a proposed law is at present before the German Parliament to considerably increase film censoring. What results these various discussions in Parliament regarding the Emelka will bring remains to be seen in the near future, after the first quarterly report will have been made. Besides, the future establishment of kontingents is also to be considered, since the present law in force regarding kontingents expires on June 30th, 1930. And all this is still overshadowed from the influences of the patent wars regarding sound films, the termination of which is the most urgent desire of the German film world.
Herr Karl Wolffsohn is the popular editor j"| of "Licht Bild Buehne" in Berlin and a jjl member of Trade Papers International.
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