We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
FRANCE
455
can films into France which had existed since the recommendation in March of new and more stringent regulations. The new agreement was, in effect, a continuation for a period of two years of previously existing protective regulations; it was hoped that during this period a definite agreement based upon a more satisfactory method of protection might be formulated and adopted by the industries of the two countries. The necessity for an arrangement that would permit further development of the French market for motion pictures, together with the influence of any decision upon the quota restrictions in other European countries, gave particular importance to a satisfactory solution of the protective problem.
As shown in Exhibit i, American participation in the French market had declined steadily since 1924, when American producers supplied nearly 85% of the country's requirements for feature films.
Exhibit i Feature Film Market in France, 192 41928*
Total No.
U. S. Per
French Pro
of Films
U. S. Films
centage Share
French Films
ducers' Share
Censored
of Market
of Market
1924
693
589
84-9%
68
9-7%
1925
704
577
80.9
73
10.3
1926
565
444
78.6
55
9-7
1927
581
368
63-3
74
12.5
1928
583
3i3
53-7
94
16. 1
* Source: Bureau of Foreign and Domestic Commerce, Trade Information Bulletin No. 617, 1929. See page 465 for data on 1929 distribution.
In quantity of film footage France ranked fourth among European markets and ninth among world markets for American motion pictures in 1928. In amount of revenue, France ranked high. The largest United States distributors obtained at that time from 25% to 40% of their total revenue from foreign distribution, of which from 1% to 2% was secured in France. Import and export statistics are available only in film footage, positive or negative. It should be noted that neither number of pictures nor film footage constituted an accurate measure of the relative share in the market, as pictures varied in revenue-producing value. It was generally conceded that American pictures obtained a higher average gross revenue than foreign pictures in