Film year book : 1922-23 (1923)

modern society dramas ; spectacular stories, ancient historical subjects, classics from fiction, and adaptations of famous stage successes. The average price paid in India for a good American film is approximately 5,000 rupees ($1,200), which includes the original cost of the film, payment for royalties, a 20 per cent import duty, and incidental charges. As there are few "first run" cinemas in India, it is almost impossible to realize the purchase cost from rentals >paid; the latter averages 100 rupees per cinema, and but few renting houses in India supply films to more than 20 cinemas. It generally happens that the importer pays $750 for exhibitor rights and $250 for the film itseilf ; he complains of this high value put upon exhibition rights, suggesting for a country like India that the price paid for exhibition rights should never exceed the cost of print of the film itself. He also desires the period of these rights be extended from three years, as now generally the case, to at least five, otherwise the purchase cost can hardly be realized. Theater managers assert that American films are far superior to others in lighting, acting, and scenic eflfects, all of which are more extravagant than films of foreign manufacture ; but certain undesirable features in subject matter have occasioned unfavorable comment in India. One exhibitor states that there are far too many American films which feature the baser side of human nature. He comments on the fact that of the films either banned or trimmed by the censorship boards the larger proportion are American. Another mistake which American producers make when dealing with Indian subjects is the confusing of Hindus with Mohammedans, rajahs with nawabs and so on — the effect being disastrous to the story. JAVA Consul Parker W. Buhrman, Soerabaya, reports: Reports from practically all parts of the world emphasize the popularity of American motion pictures and American actors and actresses. The nationality of the audiences and the nationality of the theater owner seem to make little difference. In Java, where there are 250 theaters and the audiences are composed' of three distinct classes (Europeans, Chinese, and natives), American films are in the majority, and it is said that no other films compare with them in popularity. One of the largest theaters is built to seat 2,000 Europeans and 2,500 natives. The theaters are so constructed that the screen divides it into two parts — the Europeans and foreign orientals sitting on one side of the curtain and the natives on the other. The picture is projected from the side of the Europeans. Censorship in the Netherlands Indies is severe and does not permit any criminal or political suggestion. The "Wild West" pictures, which would be very popular with the natives, are not allowed, nor is any picture perimitted in which the question of nationality is handled in an objectional way. About 35 per cent of the pictures imported into the Netherlands East Indies are either refused or cut by the censors. In response to representations made by the film exhibitors, in Java, a change has been proposed in the censorship regulations, which will allow the film to be censored before the payment of duties. Previous to this time there has been no provision for the refund of duties paid on films which were not allowed to be shown by the importing exhibitors. Language presents a serious difficulty. Probably a Malay text would, in general, be most satisfactory for exhibition to natives. Many films that are now being shown are in both Dutch and English tex!t. The native, not understanding either language, is at a disadvantage. Accordingly, news events of the world and current topics are in very slight demand. JAPAN Report by Martin G. Scott, clerk to Trade Commissioner, Tokyo: The motion picture industry in Japan has had a remarkable development in the past few years. As far back as 1914 or 1915 foreign films, chiefly American, were growing in favor in Japan and they have continued to increase in popularity. There are in Japan about 600 theaters giving regular performances and about 2,000 more giving occasional performances. From the standpoint of imported films, however, only the 600 need be considered. Of these, Tokyo has about 50 houses, Osaka 30, Kobe 15 and Kyoto 10, the remainder being scattered throughout the country. These theaters seat between 500 and 1,800. The term "seating capacity" is a misnomer, as in many houses the lower price of admission entitles one to standing room only. Most houses give one performance a day, although some, such as the large houses in Akusaka Park (the "Coney Island" of Tokyo), give continuous performances and appear to be always crowded. Of the 600 theaters, the so-called trust, the Nippon Katsudoshashin Kabushiki Kaisha, owns or controls about 350. The trust is by far the largest moving-picture company in Japan. It owns or controls a majority of the theaters, in many cases owning the buildings. It rents the theaters, supplies films and machines, usually on a percentage basis, and sometimes exercises a supervision over the show. Its percentage of the profits varies with the theater. The trust has at present two studios, one in Kyoto and one near Tokyo, with a force of 100 actors and 50 camera men, directors, etc. In addition to the theaters, films are in demand for Y. M. C. A. performances, private entertainments, etc., though it is hard to estimate the total volume of this business. As an index of the popularity of the motion picture, Tokyo's 50 film theaters play annually to over 10,000,000 people, while the 20 legitimate theaters, with much larger seating capacitise, play to somewhat less than 5,000,000. These 20 legitimate theaters give almost exclusively Japanese plays. Two, however, the Imperial Theater and the Yurakuza, accasionally give foreign plays and at times show motion pictures. These two theaters have seats arranged in foreign style. There seems to be no question but that the moving picture has hurt the regular theater business in Japan to a considerable extent, but there has been no such desertion by actors of the stage for the film as in America, probably on account of the intense pride which the Japanese actor takes in his profession. For the better-class theaters the admission charge runs from 0.50 to 1.50 yen (25 to 75 cents), though for some performances as high as 3 yen ($1.50) will be charged. The smaller ones charge from 30 to 50 sen (15 to 25 cents), though some prices are as low as 10 sen (5 cents). The average price for all will probably he in the neighborhood of 50 sen (25 cents). Children ivnder 15 (where admitted at all) and soldiers are usually admitted at half rates. Programs are changed weekly. The rental charge varies widely, running from $100 to $600 per month, depending on the theater and the class of film shown. For special films an e-xtra charge is usually made. The programs are long; those for the better class theaters will include two pictures of about six reels (sometimes both foreign, sometimes one, while some theaters show exclusively Japanese films), a weekly news letter a comedy, and two or three episodes of a serial film (usually an exciting melodrama). The trust states that for a first-class foreign film they often secure $200 per week, and for individual performances from $25 to $35. The larger Japanese companies usually buy their films outright and then supply them to their different theaters. A film on the trust circuit will last a little over a year and then it is stored. There is little or no sale for films after they have made the rounds. Films are dutiable at 8.25 yen per kin ($3.10 per pound), including inner packing. Complaints are made of pirating of films, and apparently with some foundation, as many individuals make a business of obtaining films in various ways and selling them outright. As there is practically no redress for this sort of thing. American companies should take every possible precaution to safeguard their productions. 423