Minutes of evidence taken before the Departmental Committee on Cinematograph Films (1936)

MINUTES OF EVIDENCE 139 30 June, 1936.] Mr. J. Grierson. [Continued. you will have to be subsidised. It may throw the field into the hands of the propagandist. I do not mind, because I am one, but it would be an unhealthy thing for the industry. 1516. In admitting shorts to the 4s. quota you would allow advertisement films and propagandist films to come in providing they were not presented free to exhibitors? — In so far as they were on the ordinary renters' list and had to be paid for by exhibitors they would have to pass the test of entertainment. If they did not, there would be no advantage in leaving them there with the renter. That forces an entertainment quality into the advertisement and propaganda film. 1517. You would not exact any kind of quality clause in admitting a short for quota? Night Mail, for example, and a coloured journey round some sugary scenery would carry equal weight? — There have been too many quarrels on questions of quality. There was a wide difference of opinion over Key to Scotland. One does not like to see the quality business coming along. It is too difficult and open to dispute. 1518. You speak about registered directors and cameramen; I am not clear what that involves? — On consideration I shall have to withdraw that. It is difficult to see a means by which directors and cameramen can be registered. I had thought to avoid the situation where almost any amateur could go out and turn the handle and count his film for quota. But I doubt whether a 4s. a foot film can stand a full blown director and cameraman. 1519. Probably a certain amount of amateur stuff would come in ? — Inevitably. If it does not come up to the costing basis it can apply to the special committee to be given quota or have exemption. 1520. At the beginning of paragraph 18 you say, " I propose further that quota be allowed to films not coming within the main terms of the Act if they demonstrate special exhibition value." I am not quite sure what you mean there?— I am thinking of the exhibitions of films which do not come up to the 4s. limit. They might apply, as we now do, for a quota under the Act, if they think they have special exhibition value. 1521. That is a distinct point from your suggestion of the neutral category for the cultural films? — Yes, but I would emphasise the word national rather than cultural, in relation to the neutral category. 1522. There are obvious possibilities of reciprocity there in that neutral category? — I think so. 1523. You suggest the Committee should adjust not only the percentage of quota during the currency of the Act, but any cost basis that might be set up for any type of film ? — As a consultative body of the Board of Trade, it might concern itself with these many and varied points. 1524. You envisage two sliding scales for cost basis and for quota percentage? — Yes, in each case 1 have suggested that. In other words it would be within the powers of the Board of Trade to change the cost basis if the market were being flooded. 1525. It would have to be set up with certain terms of reference and telling it to do certain things, and to have regard for example to the interests of trie general public ?— You might even have a member sitting permanently at the Censor Board to keep a watch on the quality of the British films and report any scandals under the Act to the Central Committee. 1526. (The Hon. Eleanor Plumer) : You suggest doing away with the limitation of programme to 3£ hours? — Three-and-a-quarter hours might be done away with. LJ27. Do you think a programme lasting longer would tend to sanity or enjoyment? — I think an extra ten minutes might give an extra short. I am prepared to face the possibility of the insanity of the public if we have the extra shorts. 1528. You feel that that would be necessary in view of the fact the two-feature programme is a thing that has come to stay? — Yes. I believe the two-feature programme represents a real demand on the part of the public, and it is foolish to think of doing away with it. 1529. In paragraph 13 you speak of the short field being the logical training ground for directors and technicians. We have had evidence of the lack of skilled personnel. Do you think the short field would be able to supply the deficiency? — I think it would help to supply the deficiency. The situation is now that because Britishers have not the necessary expert knowledge, the field is thrown into the hands of the foreign expert. Here is a means by which more men could be trained. 1530. Could you increase that number without hampering your production? — If we are to have trained men coming along in a couple of years we must dilute our labour. And sometimes we dilute too much. But one has to face that problem in the ordinary course of a developing business. 1531. (Chairman) : We are very much obliged to you for your help. (The Witness withdrew.) SEVENTH DAY Tuesday, 7th July, 1936 Present : The Rt. Hon. Lord MOYNB, D.S.O. (Chairman). Mr. A. CAMERON, M.C., M.A. Mr. J. S. HOLMES, M.P. The Hon. ELEANOR M. PLUMER. Lt.-Col. Sir ARNOLD WILSON, K.C.I. E., C.S.I. , C.M.G., D.S.O., M.P. Mr. W. H. L. PATTERSON (Secretary). Mr. Ivor Montagu, representing the Film Society, Ltd., called and examined The Committee had before them the following memorandum of the Film Society: — Scope or Memorandum. Type or Film Discussed, Definition of the Specialised Film. 1. In 1925-6 there was established in this country a society registered " not-for-profit ", the first of its kind in the world, the Film Society, for the study of specialised films. The object of this Society has been mainly but not exclusively (lecture courses, the production of experimental films, etc. have also been organised), the making available to its members of films of interest in the study of cinematography but not available otherwise. Films of such interest may be so owing either to novelty of technical treatment, or to novelty of theme as subject of cinematograph expression. They