The film daily year book of motion pictures (1935)

money and lack of technical experience. Taxes — Very high. Theaters — There were 319 motion picture theaters m Yugoslavia. The total seating capacity of these S19 cinemas was 89,951. Ihe prices of admission to Yugoslav cinemas vary somewhat widely, but the usual price for the better seats runs from 8 to 25 dinars each. Less desirable seats may be had in the small towns at prices ranging from 3 to 8 dinars. Theaters open from one to three days in a week charge from 3 to 10 dinars per seat, while other theaters, open from four to six days in a week or on every day of the week, charge from 4 to 25 dinars per seat. The number of theaters by banovine was as follows : Banovina Sound Silent Total Number of Seats Danube . . . 51 59 110 (121) 29,182 Sava .... 35 27 62 (62) 19,569 Drava . . . 29 17 46 (47) 11,067 Drina . . . 12 5 17 5,353 Seacoast . 7 10 17 4,204 Morava . . 10 6 16 2,890 Vardar . . 9 5 14 3,770 Vrbas ... . 3 9 12 (15) 1,919 2 7 9 (8) 2,309 Belgrade-Zemun Pancevo . 16 16 (11) 9,688 174 145 319 (338) 89,951 (92,028) (1932 figures in parenthesis.) Several new cinema theaters were opened in Y'ugoslavia during 1934. Sound — There were in Y'ugoslavia at the close of 1933 174 cinema theaters wired for sound. Imports from U. S. A. — 1933 — Positive sound 364,180 ft. $12,106 1934 — Positive sound 371,123 ft. 11,718 URUGUAY Agitation — Considerable agitation has been shown during the year against all motion picture films which are held to be immoral, regardless of their origin. During the latter part of the year a proposal was made in the Uruguayan Senate to exercise a stricter censorship control over motion picture filiiis being shown in Uruguay, and prohibiting minors under 16 from attending performances except those which have been approved by government censorship. Censorship — The Theatre Inspection Department of the Montevideo City Government maintains a censorship board which, however, has failed to function as such for years. Competition — It is stated that between 90 and 05 per cent of the motion picture films released in Uruguay are of American origin. During the year 1934 German UFA. French Gaumont. and British Gaumont introduced several pictures but 1490. without conspicuous success, according to exhibitors. French spoken pictures continue to rernain the most popular among foreign films, in view of the general knowledge of French among the l^ruguayans. Coiyright Relations — These are covered by the American Copyright Convention held at Buenos Aires August 11. 1910, and ratified Julv 13. 1914. Production — Local production is restricted to advertising shorts and occasional newsreels on local ^ubiects. The amount of films produced locally is considered negligible. Taxes — Six per cent of the entire gate-receipts must he paid as taxes. Difficulty in securing favorable foreign exchange for payments confronts importers, in view of the fact that motion picture films are considered as luxuries and are, therefore, not accorded official exchange. Importers must purchase their exchange in the "free" market at prices approximately 52 per cent in excess of the official exchange. It is considered iiiad visable to effect shipments without having secured payrncnt in advance. Fifty per cent of thf import duties on films must now be paid in gold or its equivalent, whereas this percentage has prevlouslv been 25 per cent. Theaters-^There are 137 theaters in Uruguay. 64 of which are located in Montevideo and the balance distributed throughout the interior of the country. Sound — 118 of the 137 motion picture theaters in I ruguay are wired for sound. It is reported that there are 63 sound machines in Montevideo of which 36 are American, 17 are locally made, 9 are Gaumont, and one Philips. Imports from U. S. A. — 1933 — Positive sound 1,953,921 ft. $39,801 1934 — First 10 Months: Positive sound 2,413,248 ft. $53,904 LIST OF DISTRIBUTORS MONTEVIDEO Paramount Films S.A., Y'i 1385. -Metro Goldwyn Mayer del Uruguay, Rio Negro 1382. Fox Films de la Argentina, S.A., Cuareim 1262. Warner Bros. Pictures of Uruguay, Inc., Con vencion 1290. Max Glucksmann, Rio Branco 1320. Cinematografia Artigas (Dante Yorio), Convencion 1517. Casa C. Sapelli (British Films Distributors), Andes VENEZUELA Agitation — None. Censorship — A censorship of motion pictures exists in Venezuela, although films are reviewed only with the idea of eliminating subjects of objectionable political implications. No censorship regulations as to subject matter have been enacted and judgment of the censor, appointed by the Federal Executive, is final. Competition — 90 per cent American pictures shown ; French 7 per cent, German 2 per cent and others 1 per cent. Copyright Relations— The Venezuelan copyright law, which became eflfective on September 16, 1928. (Gaceta Oficial No. 16,588, August 12, 1928). makes provision for the copyrighting of N^ational motion pictures (Art. 180) but there is some doubt as to whether this provision applies to films of foreign origin, apparently no attempt having been made to copyright a foreign film since the law became effective. Article 180 of the law of September 16, 1928 provides that in copyrighting motion pictures of domestic origin, the registrar of copyrights must be supplied the following data: (1) Names of artists; (2) Title of manuscript of play ; (3) Place and date of production; (4) A copy of the; first and last scenes of each of the parts making up the picture (una copia de la primera y ultima escena de las partes de que se componga la pelicula). Article 193 of the same law provides that foreign works (Propiedad Intelectual) are copyrighted in accordance with International treaties existing between Venezuela and the country where the work is produced. Apparently no special copyright treaty exists between the United States and Venezuela. However, Article 115 of the Codigo Internacional Privado. agreed upon at the 6th Inter-American Conference at Havana on February 20. 1928, and iniblished in an extraordinary number of the Venezuelan Official Gazette of April 9, 1932, provides that, if no special treaty exists, protection in the case of intellectual property shall be granted in accordance with the laws of the country where protection is sought. This would appear to place foreign films on the same basis as national films for the purpose of copyright in Venezuela. Production — There were two local news reels and one feature picture produced in Venezuela during the year 1933. Taxes — Moderate. Theaters — Approximately 134, of which 17 are in Caracas. Sound — There arc approximately 75 sound equinped theaters in Venezuela, of this number 3 have portable sets. 14 in Caracas wired for sound. Im"orts from U. S. A. — 193.3— Positive sound 825,832 ft. $18,437 1934— First 10 Months: Positive sound 1,618.957 ft. $30.7n.<< 1082