The film daily year book of motion pictures (1934)

Critics Sec Improvement Improvement in quality ot foreign pictures imported to America has been constantly noted by newspaper and magazine reviewers in the United States. As indication of this is found in the fact that one critic, in voting for the Ten Best Pictures of 1933 in THE FILM DAILY YEAR BOOK annual poll, listed five foreign productions among his ten selections. ing the French market in 1932-33, our share of this market will be considerably curtailed. It is estimated that from 125 to 150 French films were produced in 1933, none of which were of any great threat to American interests either where French is spoken or in the United States. Germany, the last of the major countries offering any potential competitive threat, has gone through a very trying year because of the recent political upheaval which has drastically affected the motion picture industry in that country. The subject matter of all German features is subjected to very close scrutiny by the Government and together with lack of adequate finance, and the retreat from the country of some of their best creative talent because of prevailing political conditions, may have its telling effect upon the German motion picture industry. Approximately 145 German features were produced during the year many of which, since the political upheaval, are based upon propaganda. How long German cinema-goers will accept this type of picture remains to be seen. Our American pictures enjoy considerable success when shown in the market, but with a constantly changing contingent system, American distributors are finding it more difficult each year to remain in the market. It can be seen from the above that England, France and Germany will account for approximately 470 features while other countries of Europe will account for approximately 175 features, making a total of approximately 645 features produced in Europe during 1933. Much of this production has been inspired by quotas and contingent systems inaugurated in eight of the major markets of Europe: England, France, Germany, Austria, Italy, Hungary, Czechoslovakia and Portugal. Besides these countries which have on their legislative statutes in some form or another laws which restrict the importation or showing of American pictures, Poland, Spain, Denmark, Bulgaria and Latvia, too, have been agitating for some sort of legislation which will adversely affect imports of American pictures. While on the subject of barriers which affect American pictures, it might be pointed out that New Zealand and South Africa too have a Quota System patterned after the one in force in England. In Latin America, Chile has a modified quota which is more of a currency exchange quota but nevertheless handicaps our American interests. These quota or contingent systems operate in several ways. They may provide that a definite limit to the number of foreign films which can be brought into the country over a given period (as in Germany and France) ; or that films can be imported only in a certain proportion to those domestically produced (as in Austria and Czechoslovakia) ; or that a certain proportion of all films distributed and shown must be locally produced (as in England); or that permits must be bought for the importation of films, the money so realized to be used as a subsidy for local production (as in Hungary). The list of countries with regulations such as these are 10 in number, and to it must be added another list almost as long where high duties, taxes on distribution profits and the like cut enormously into revenues. Latin American countries according to latest reports, indicate, that eight feature length films were produced during 1933 — six by Mexico, one by Peru and another by Argentina. This region is one of America's largest users of motion pictures. While this market is predominately a Spanish-speaking market excepting Brazil, which is Portuguese, pictures "dubbed" in Spanish are not desired nor are pictures using unknown Spanish actors very successful. American films, however, with star names in their original dialogue, with superimposed titles have been very successful. Latin Americans prefer this as it helps the natives to improve their English, which most of them seem anxious to learn. With the exception of increased showing of British motion pictures in Australia and New Zealand, the Far Eastern markets remain approximately as they were during 1932. Production of feature motion pictures in this region during 1933 calls for approximately 890 feature pictures primarily for home consumption. Japan is listed for 750; India 43 silent and 33 sound features; China 20 sound and 40 silent features; Australia, 2 sound features and Persia 1 feature. Nearly all of the production in this region is for home consumption and only rarely does any of the product get any distribution outside of the country of origin. It can be readily seen that an industry which must face legislative barriers in no less than ten foreign markets, increased foreign production, and high taxation, has much to overcome. These obstacles, while apparently insurmountable, can be overcome in part with the production of quality pictures which Hollywood has proven in the past it can turn out. The tastes of our foreign movie-goers have not changed materially but they have become more discriminating in the type of pictures they will go to see. Competition leads to greater creative imagination and superior quality of product. Hollywood has met the challenge before and will continue to face it as successfully as in the past years. Quality of product sent abroad and a careful selection of the type of subjects, will be the deciding factor in regaining play dates lost to British, French and German producers in the world markets. 997