Film year book (1928)

UNITED KINGDOM Agitation — The Cinematograph Films Act, 1927 became a law Jan. 1, 1928 and will continue in force until Sept. 30, 1938. The quota makes it compulsory for distributors to include British pictures in their schedules and for exhibitors to show British pictures on their screens. Year to year percentages are, for year ending. Distributors' Quota March 31, 1929 — 7*A per cent March 31, 1930 .. 10 per cent March 31, 1931 .. 10 per cent March 31, 1932 .. 12H per cent March 31, 1933 .. IS per cent March 31, 1934 .. 17/2 per cent March 31, 1935 .. 17^ per cent March 31, 1936 .. 20 per March 31, 1937 .. 20 per cent March 31, 1938 .. 20 per cent Exhibitors Quota 'Sept. 30, 1929 . . 5 per cent Sept. 30, 1930 .. per cent Sept. 30, 1931 .. per cent Sept. 30, 1932 .. 10 per cent Sept. 30, 1933 .. 12J4 per cent Sept. 30, 1934 .. 15 per cent Sept. 30, 193S .. 15 per cent Sept. 30, 1936 .. 20 per cent Sept. 30, 1937 .. 20 per cent Sept. 30, 1938 .. 20 per cent The quota, as it affects the renter of films, goes into effect on April 1, 1928. The first of the ten quota years will, therefore, end on March 31, 1929. The quota on exhibitors begins Oct. 1, 1928. Films exhibited during the 12 months that follow until Sept. 30, 1929 must contain at least 5% of British films. From Oct. 1, 1928 to Sept. 30, 1940, exhibitors must be licensed with a special permit for each of their theaters, these being securable from the Board of Trade. The statute also provides that before Nov. 1 of each quota year, exhibitors must give particulars of the British films which they have shown. Part One of the bill deals with blind and advance booking. Not only will it be prohibited for renter to sell and the exhibitor to buy sight unseen, but the dating in of pictures is restricted so that time can be allotted for British pictures. In the instance of pictures contracted for before lOct. 1, 1928, the booking time limit must not exceed a year. Advance booking is limited to nine months in the case of contracts signed on or after Oct. 1, 1928 and before Oct. 1, 1929. After Oct. 1, 1929, advance bookings are cut to six months. At present, American companies have sewed up so much playing time, that without such proviso, there would be no way in which to ascertain when quota pictures could reach British theaters. Censorship — Exercised by British Board of Censors. The British Board censored 1,718 pictures totalling 6,238,176 ft. during 1926. Four were rejected entirely; universal exhibition certificates for 1,384 were granted while 334 carried the "A" certificate, which means for adults only. The board took exception to 337 pictures, but eventually these were passed with eliminations. The list of objections is long. Seventy-seven reasons for eliminations were given, ranging from the "materialized figure of Christ" to "scenes in a lunatic asylum." Competition — 90% American. Out of 800 features trade shown in 1926 there were 720 American. The efficacious manner in which the quota will work from the British angle is demonstrated by the fact that at the end of the first quota year on distributors which will be March 31, 1929, sixty English-made features will be found on releasing schedules, computed on the basis outlined above. By Sept. 30, 1929 which will mark the termination of the first quota year on the exhibitor, 5% or 40 English pictures will reach British screens. Copyright Relations —Established by proclamation July 1, 1891, extended April 9, 1910. Dec. 8, 1910 and May 25, 1922. Production — When England's final check-up for 1927 is made, the total number of features made will approximate 60. In 1926, there were 23 features produced and in 1925 there were 34. The spurt in English production, or its rebirth as portions of the trade in London called it, was, of course, brought about by the quota situation which was under discussion for almost a year prior to its enactment as law late in December. Practically all of the old-line British companies, therefore, re-entered active production. Admittedly faced by inadequate manpower, British producers late in 1927 turned eyes toward Hollywood with a view to placing available directors and players under contract. By the beginning of 1928, there developed no exodus to speak of, but it was generally felt in Hollywood that before 1928 has passed considerable talent would find itself working in English studios. Recognizing the necessity for a broad attitude in view of the status of the British production industry, one of the last minute changes in the quota made it possible for quota pictures to be made anywhere throughout the world provided all other clauses in the law were adhered to. As a consequence, it will be 1929 before British production hits its real stride. Nineteen twenty eight may be expected to be largely a year of intensive preparation. In general, it is a source of great satisfacton to the British trade that production is making such splendid progress. Opinions differ over the efficacy of the quota. Some believe -it will result in pictures of mediocre quality, since their outlet is largely guaranteed under the law. Others feel the measure will gain for Britain her place in the international production sun. There is also to remember this consideration: The quota has brought about the flotation of a considerable number of shady promotions, designed not for the purpose of making good pictures, but largely to separate the gullible public from its money. Taxes — Moderate. The entertainment tax netted the British Government £5,778,000, or, about $28,890,000 during the twelve months ending Jan. 31, 1927. This is interesting when compared with the $20,900,000 received by the United States on admission taxes for the twelve months ending June, 1926. Although other branches of amusement contribute a share of these taxes, motion picture theaters pay the most. Theaters — 3,760. London, 500 (estimated). The average weekly attendance at all British theaters is estimated at 8,000,000, or about eight visits to a picture theater per year, based on the population. About 3,300 theaters of the nation's total are regular exhibitors, keeping open six days a week ; the other exhibit irregularjy. London leads with about 500 houses. The principal cities and their theaters follow : London 500 Manchester 475 Leeds 465 Glasgow 457 Birmingham 351 Newcastle 315 Cardiff 260 Dublin 228 Bristol 226 Liverpool 216 Nottingham 148 About $12,500,000 was spent in 1927 in London alone for new theaters, and the reconstruction of old houses. The program provided the city without about 52.890 new seats divided among 20 theaters. None of the theaters seats less than 2,000 while the high and low range for the entire group is 2,000 to 5,000. Ten other houses are in the offing and may be started during 1928. Several are controlled by American companies; in others, American and British interests are partners, while in the 983