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Foreign Problems o o <^ <^ <^ ^> 425
American distributors were charged all that the traffic would bear). (3) A specific place has been designated where permits are bought and sold. In all the rest of the provisions the new law is substantially the same, except that an Austrian producer does not get 30 permits for each film produced unless he uses Austrian apparatus both in filming and in developing the film. If he does not use Austrian apparatus, he gets only 21 permits. There is one further feature
Exhibit 40 21
Markets for American
Films, 1931
Percentage of
Total
American
American Films
Films
Films
to Total Films
United Kingdom 647
470
72.0
Germany 286
80
27.9
Australia and New Zealand* 513
457
89.0
Scandinavia** 296
179
60.5
Argentina (No figures
yet
available)
90.0***
Canada 398
377
94.7
France 453
220
48.5
Japan (Exact numb
er not available) 11.6
Brazil 310
240
77.4
* Average compilation.
** This is an average compilation obtained by adding the total films used in
Denmark, Norway, and Sweden and the number of American films shown
in each market and then dividing by three.
***This figure is for 1930.
of the new law, not previously found, which will work to the disadvantage of the American industry and to the advantage of the Germans. If an Austrian film producer sells a sound film abroad at a price of not less than $14,000, he gets an additional 30 permits. These permits are turned over to the Film Bureau of the Chamber of Commerce and are used as permits for the importation of foreign films which must, however, have been produced in the country to which the Austrian picture has been sold. Obviously, practically all Austrian films that are sold at all will be sold in Germany.
Such is the law as it stands officially. To understand the
21 Compare with table for 1925 shown in Exhibit 35, p. 397, to see the effect of restriction on the percentage.