Money behind the screen : a report prepared on behalf of the Film Council (1937)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




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.

MONEY BEHIND THE SCREEN I.— STUUCTURK. A. — American Predominance. 1. The ])nsHin<? of the Quota Act (C'incinalojjraph FihiiH A< t» 1927), while virtually creating the British ])r()(iueti()ri iuduslrv us far as feature lilnis are concerned, did not, however, put an end to the predominance of the major American producers in tlie English market. Table I indicates the proportion of English films registered during each quota year since 1928/9, together with the quota percentage (based on footage) provided in the Act, and the total number of features {i.e., tilms measuring 3,0(X) feet and over) and shorts released each year. After an initial drop, following the spurt of home production during the first year, the proportion of English feature films increased steadily from about 16 per cent, to just under 30 per cent., thus considerably exceeding the statutory quota figure. The legal possibihty of registering long films as quota for foreign shorts has, however, resulted in a marked lag in the production of British shorts behind the quota percentage. TABLE I. Quota percentage, and percentage and total number of British feature and ■hort films actually registered 1929-193G. British Films Registered. Peecentage OF ALL Films. Total No. OF British Year endiko Quota % Films March 3 1st It 'E"■^InTtT^ ^LiHipiOii^ ^z Features. Shorts. Features. Shorts. 1929 7.5 18.9 18.1 679 829 1930 10 16.9 16.9 602 1,065 1931 10 17.9 5.0 CSl 1,058 1932 12.6 24.7 4.5 618 977 1933 15 24.7 4.9 643 841 1934 17.5 28.0 6.8 679 707 1935 17.5 28.3 8.2 667 820 1936 20 29.5 12.8 718 663 2. If we confine ourselves to feature films (Table II) we find that even to-day American features account for more than two-thirds of all films registered in this country, foreign features other than American accounting for only about o per cent. TABLE II. Percentage distribution of films registered from December, 1934, until November, 1935, and from December, 1935, until October, 1936, respectively, showing country of origin and main renting groups. Features. Shorts. 1935 1936 1935 1936 I. All Films Registered ... 100.0 100.0 100.0 100.0 f American Films ... 67.0 66.9 81.4 77.2 . Films -^ British Films ... 28.1 27.9 18.0 22.3 (^Foreign Films (other) ... 4.9 5.2 0.6 0.5