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.
Seg (A Ghost in Love) (1947) and Den Hemmelighetsfulle Leilighet (The Mysterious Apartment) (1948), in which he attempted a difficult psychological theme. The contrasting traditions in the Norwegian cinema were illustrated by two films made in 1949: Doden er et Kcertegn (Death is a Caress), a theatrical story of a crime passionel, directed by Edith Carlmar; and Gategutter (Street Boys), a story of the gangs in Oslo during the depression after the First World War, based on a novel by Arne Skouen and directed by the author in collaboration with Ulf Greber.
The production of feature films, limited to two or three a year, is being supplemented by an increasing number of documentaries, financed by the State and municipal authorities. One series of twenty films was devoted to Oslo and another to 'Norway in the Twentieth Century'. The Health Service made a film about BCG vaccination, the Ministry of Church and Education one about the public library system, and the Ministry of Social Affairs one on the theme of care for alcoholics. The subjects of other documentaries included the drive for more electricity, problems of rationalization and reconstruction, and the general economic future of the country.
Film exhibition in Norway is conducted on a unique basis. A law passed in 1 9 14 not only gave the Norwegian municipalities power to control all film shows in their areas, but also enabled them to build and operate cinemas, and to do so exclusively if they wished. The first municipal cinema was opened in 191 5 at Notodden. In 1918 the municipality of Oslo decided to forbid the opening of any new privately-owned cinemas and from January 1, 1926, a similar ban applied to the whole country. In 1950, of Norway's 403 cinemas 170 were municipally owned, 125 were associated cinemas, and eighty-six were owned by private companies. The first group of municipal cinemas produced between 80 and 90 per cent, of the total revenue. At many of the other cinemas only one or two performances a week were given. In 1949 the total number of cinema attendances in Norway was about twenty-five million.
The municipal cinemas are all members of the Komunale Kinematografers Landsforbund, which was established in 1917. In 1919 the KKL set up its own renting organization, Komunenes Filmcentral, and later took over the interests of another renting company, Fotorama, bringing about one-third of the film renting interest under its control. In 1932 it founded Norsk Film. It also owns the largest laboratory, finances the Norwegian newsreel, and publishes the only film trade paper in Norway.
Since the liberation, the Government has taken an increasingly close interest in the cinema in Norway. In 1946 the administration of film legislation was transferred from the Ministry of Justice to the Ministry of Church and Education. At the same time a Government Film Board (Statens Filmrad) was set up to advise the Ministry on questions of entertainment tax, support for film production, and the production of documentary films. In 1948 Statens Filmsentral was
51