Kinematograph year book (1944)

266 The Kinematograph Year Book. 7,522,000,000 feet, or 18.80 per cent, as compared with 21.3 per cent, the previous year. British shorts shown represented 25.11 per cent. The quota for period under review was 17.5 per cent, long films and 15 per cent, shorts. It is anticipated that the showings of British long films during the 1942-43 period will show a big increase on these figures, although, owing to altered release arrangements, there may be a possible fall in the shorts figure. The denial by the President of the Board of Trade that it is intended to remove the quota regulations was reassuring to producers, many of whom regard it as the chief defence against American domination of our screens. Indeed, this question of quotas, contingents, and other restrictions upon the free marketing of films is causing concern to U.S. producers. An official report on the subject by the U.S. Bureau of Foreign and Domestic Commerce appears to indicate that considerable pressure will be used to secure, after the war, the abolition of reciprocal arrangements for film interchange. An official of the U.S. War Production Board urges the American Industry to prepare a post-war international programme for presentation at the Peace table. A British view of the operation of the quota, advanced by Michael Balcon, contends that a minority quota of 30 per cent, for British films on British screens was no conceivable injustice. Under the monetary quota amendment which operated as from March 31, 1943, the company operating under it need only make one film a year, the balance of its obligations being expended up to 50 per cent, by the purchase of foreign rights of British films. This modification so far appears, from the cash point of view, to be operating adequately, but there have been complaints that films so negotiated are not always given the credit of British origin and that others have been shelved or remade in Hollywood. Another matter not unconnected with this aspect was the removal, on October 25 last year, of the restrictions on the remittance of U.S. film credits, a proceeding which seemed to dispel the prospect of the considerable expenditure of American funds on British production. That this was not entirely the case is shown by the recently formulated plans of M.G.M. British for a £5,000,000 production schedule planned in association with Sir Alexander Korda. Foreign Markets.— While the function of the Quota can ensure the exhibition of British-made pictures in our own theatres, it cannot with existing limitations enforce, with one or two notable exceptions, an entry in world's markets, and particularly that of the United States. This problem of building up and maintaining profitable distribution for British films has been engaging the Board of Trade, who recognise the urgent need for export trade as well as circulating the British way of life and promoting an interest in our manufactures. It is not anticipated that actual financial support will be forthcoming, but Government statistics and sales information will be available ; the possibility is also hinted at of establishing a Films Attache at our Embassies and Legations. TheB.F.P.A. has also lost no time in planning for the future, and has formed a company, British Commonwealth Film Corporation, to promote the co-operative marketing overseas of our product; meanwhile the producers have formulated a scheme for the immediate doubling of selected subjects for exhibition in liberated territories. While this proposal is excellent as a form of trailer, the real goal of a permanent world market must not be lost sight of. Alongside these Government and co-operative efforts, which are still very much in embryo, there is J. Arthur Rank, backed by huge monetary, theatre and production resources, who has announced his intention of breaking into the world markets and is now actively engaged in building up an organisation to that effect, headed by Arthur Kelly, former foreign chief of United Artists, and E. T. Carr, the British managing director of the same firm. Mr. Rank's view is that without a world market British production will be strangled, as it is impossible for the home market alone to recoup production costs. He had opened negotiations with American film leaders with whom he was prepared to collaborate, otherwisefhe was