Film year book : 1922-23 (1923)

$0.35 (U. S. $0,175) for the natives, and from Yuan to $0.60 (U. S. $030) to $2 (U. S. $1) for foreigners. Many upper-class Chinese, particularly in Peking and Shanghai, pay foreign rates in order to occupy the best seats. Two .shows daily, including Sunday, are the general rule; they are held in the evening, with occasional matinees. Music is provided by any available means, from a phonograph or a piano to a small orchestra. In addition to the regular exhibitions in theaters, motion pictures are shown in large native amusement enterprises such as the "Old World" and the "New World," Shanghai, and the "New World," Peking, where the low general admission charge precludes the use of new expensive films. Industrial Uses of the Film A very important use of the motion picture in China is for advertising purposes. This may prove its most profitable field. One of the large tobacco companies is now taking pictures in China anl showing them free to purchasers of cigarettes. American firms have furnished commercial and industrial films for circulation by the American commercial attache at Peking, or for private exhibition by their agents in China to prospective purchasers of their products. The Young Men's Christian Association in Shanghai has facilities for distributing educational, commercial, and industrial films to its branches throughout the country and also to kindred organizations. Native Production Versus Imported Films The first motion-picture drama produced in China with a native cast was screened July 1, 1921, at the Olympic Theater, Shanghai, by the Chinese Motion Picture Society. For this 10-reel feature, called "Abuse of Rich Ornaments," the admission charges were from Yuan 1 (U. S. $0.50) to 2 (U. S. $1). Based upon a notorious murder case, the picturization adhered very closely to the evidence, showing everything that happened from the origin of the motive to the execution of the murderers. Large crowds attended the performances, given twice daily for a week. The difficulty involved in taking motion pictures in China is the high cost of production compared with limited exhibition facilities. According to those familiar with the business in Shanghai, films can be imported at from Ij cent to 6 cents United States currency per foot, and it costs from $5 to $10 per foot to produce them. The prices charged for American films, arranged by the exchanges with the individual theaters, vary according to seating capacity, admission fees, and drawing power of the feature offered. It has been found unsatisfactory to insert Chinese subtitles in American films ; too much space is required to convey the idea. Instead, native interpreters verbally explain the pictures to Chinese audiences, and a synopsis of the story is printed in Chinese in the theater program. Import Conditions The most satisfactory and economical method of shipping films to China is on spools wrapped in stout paper and packed in tin-lined boxes. It is cheaper to buy reel cans in China, where they cost only Yuan $0.40 (U. S. $0.20) each. Films are usually sent through the Chinese post office (a very efficient institution) in packages containing two reels. Although the Chinese market was said to be flooded with all kinds of films from various American producers in the late summer of 1921, several Shanghai exchanges reported steadily increasing business. Exports of exposed motion-picture films from the United States to China covered 1,500 reels in 1919 and 2,700 reels in 1920; many others came through Japan. German and Italian photoplays were shown in Shanghai during 1921, but did not seem to enjoy the popularity of American films. Fifteen firms in Shanghai import films and six exchanges circulate them. Hongkong and Tientsin are other exchange centers. Among the concerns taking motion pictures in China are the Commercial Press, a large Chinese publishing organization with its main office in Shanghai and branches in many other cities ; and Pathe-Orient, a well-known French company. As yet there is no record of a studio in China comparable with the elaborate establishments in the United States. Estimate of the Field in China In estimating the motion-picture field in China — the opportunity for circulating dramatic films at a profit— the survey must be confined to cities served by rail or regular steamship service. Along the 7,000 miles of railroad, the 1,800 miles of seacoast from Tientsin to Canton, and the 600-mile section of the Yangtsze River from the sea to Hankow, there are perhaps 75 cities that have a population of 100,000 or more where motion pictures might be shown if theaters were established. The large majority of the papulation can not afiford to pay the admission that must be charged in order to make the exhibition of American films profitable. Motion-picture men in China place the proportion at 5 per cent, which means a total prospective audience of between one and two million in the 75 accessible cities. Motion pictures of greatest interest to the Chinese are naturally those in which Chinese actors appear. It is probable, however, that the develo^)ment of motion-picture producing in China will be even slower than that of film exhibiting ; and the latter is handicapped by two significant factors — the Chinese generally have weak eyes and sometimes have difficulty in seeing pictures clearly, and they are exceedingly fond of bright lights and abundant noise. It is a question whether the dark motion-picture theater with its foreign music will ever compete seriously with the native playhouse, where the lights are never lowered and where a blatant native orchestra produces continual din. GREECE All the motion pictures used in Greece, with the exception of some news reels and propaganda films, are imported from abroad. While the majority of the pictures imported come from France, England and America, the German product is also in evidence. There is no censorship in Greece, nor are the theater owners required to have a license, as it is the rule in most of the other European coimtries. If the public does not approve of a film, for one reason or other, the police steps in and stops it. The government subsidizes the production of scenic and propaganda films. In Athens there are a number of foreign concerns represented : Pathe through Mr. Margulis, Gaimiont through Mr. Leon Schneider, Mosco & Gaitis as well as a Mr. Masoni represent Italian productions. Furthermore, the big German and Austrian concerns have either their own branches or agents there. Athens boasts of 9 theaters with a seating capacity ranging from 500 to 1200 people and a few open air theaters seating 1500 to 4000. At the latter no admission is charged. Food and drinks are served. The prices in the closed houses vary from 1.80 to 2.50 drachmen, of which the government collects a tax of 25%. The rentals range from 40 to 160 lepta a meter per week. In all of Greece there are about 40 motion picture houses of which 15 have a seating capacity of 1000, 5 of 800, 20 from 300 to 500. Owing to lack of native production there is no trade paper, but nevertheless, according to a report in the International Filmschau, interest in the film industry is very strong and additional theaters are planned everywhere. Big financial interests intend organizing a domestic producing company. INDIA Report by Consul General Alexander W. Weddell, Calcutta: The demand in India for American motion pictures has shown a steady increase during the past few years. There are at present 168 motion picture houses, or cinema shows, in India, Burma, and Ceylon. In Calcutta there are 16 theaters showing American films, 5 being patronized chiefly by the European population, and 11 by the natives. There are two distinct communities to be considered— the Indian and the European — each with Its separate taste and demanding a different type of film. The natives like pictures v^fith dare-devil features, serials with a thrilling story, or slapstick comedy ; the other class of patrons prefer 422