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founded, with the object of acquiring and distributing educational and cultural films.
Government assistance for film-making in Norway has taken several other forms. Entertainment tax and film rentals are adjusted so that they benefit Norwegian producers. While for imported films the entertainment tax is 40 per cent, and the rental is fixed at 30 per cent., for Norwegian films the tax is reduced to 25 per cent, and the rental increased to 40 per cent. In addition, production is subsidized from the State Film Fund, which stood at about ten million Kroner in 1949. The Government has acquired a financial interest in Norsk Film. Scholarships are granted through the Ministry of Church and Education to young film workers for the study of production in England, France, Denmark, and Sweden. The Government has also put into operation a plan for travelling cinemas to reach the more isolated parts of the country.
Although Norwegian films have made an insignificant contribution to world cinema, this seems a somewhat harsh measure to apply to the output of so small a country. More important is the evidence of the Government's awareness of the contribution the film can make to the country's cultural life and its determination to use the film wisely and with discretion. The system of municipal ownership ensures that no enormous profits will be made out of film-going by private individuals; and the box-office discrimination in favour of the Norwegian film seems a legitimate aid to keep production alive in the smallest of the Scandinavian countries.
In a world increasingly dominated by large units, feature film-making in small countries is less and less likely to be a profitable occupation and can survive only if the incidence of taxation is adjusted for the benefit of native production. If it did not survive, there would be a loss both inside and outfide the country. Inside there would be no counter influence in the cinemas for alien cultures, presented with all the power and insistence of the film medium. The world outside the small country would lose the vivid and immediate contact with the life of a people which the cinema uniquely makes possible. For these reasons it is important that filmmaking is being maintained even on a small scale in the Scandinavian countries. In their films as in other departments of their national life they have revealed a highly-developed individualism. And when they have shown themselves capable of producing works of the quality of The Day of U rath. Frenzy, and Miss Julie. I suggest that, without them, the art of the cinema would die a little.
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