AMERICAN ASTUTENESS

New Zealand Times, Volume LIII, Issue 12614, 26 November 1926, Page 8

AMERICAN ASTUTENESS

IN MOVIE FILM TRADE ‘BRITAIN’S POSITION HOPELESS” URGENT EMPIRE SUBJECT "Approximately 450 film programmes >oaeh covering an evening's entertain* ment) will be sent to thi6 Dominion for the year 1927. About 95 per cent, of these will be supplied by American firms w ho, with characteristic astuteness, will distribute two or three pictures of Britwh origin to satisfy the rising clamour tor British pictures." This quotation comprises a clause in' the report of the association of British. Manufacturers and agents, presented at the annual meeting last evening. "The hopeless position into which the Uritish film industry has drifted has been brought sharply to our notice," the report goes on, "and it is satisfactory to record that the subject is to receive the attention of the imperial Conference. It is not only an urgent Empire subject, but one of world-wide importance, for it is recognised that the film is a powerful advertising medium and that trade follows the film. AMERICANS MASTERS. "The American producing firms aro undoubtedly masters of the situation and dominate the trade in New Zealand as they do in Great Britain and other parts of the British Empire. In fact the screens throughout the world are virtually monopolised by American pictures The monopoly is a serious one, as the pictures in a subtle manner introduce American standards, customs, traditions, and create a desire for American commercial products. It is because of this process of Americanisation to the detriment of British trade that a solution must be found. British traders in this Dominion oannot be ignorant of its p-.r----tent. There are no less than 40Q picture show's in New Zealand who require a constant supply of pictures. Some of these 6hows change their programmes three times per week, others once or twice. CONTINUOUS SUPPLY. "There are six American exchanges and two independent ones distributing American films in New Zealand. The six American exchanges are subsidiary American producing-distributing companies, ana it is estimated that they take in film rentals in Australia and New Zealand .£23,000 a week. The theatres in New Zealand are “free" in so far as they are locally-owned and controlled. The exhibitors have practically only American productions to choose from. The exchanges classify their productions into three classes: Ordinary programmes, special pictures, super-special pictures. The ordinary programmes are usually contracted for to cover periods of six or 13 months. The advantage of this system is that the exhibitor gets a concession for quantity and a continuous supply. ‘The disadvantage is that the exhibitor makes a blind contract in so far as iho pictures sent to him are not 6een until he receives them, and he may find that they are unsuitable for screening. He must pay whether he shows them or shelves them. Moreover, the pictures sent out are those the exchanges think the exhibitor and his patrons should like whether they are really suitable or otherwise. BLIND BOOKING. “Should an ordinary programme picture prove an exceptional attraction it is withheld from the service and the exhibitor must pay three or four times more than the ordinary programme price. Another disadvantage, and one that has partly caused the collapse of the British industry, is that the blind booking contract monopolises the exhibitors* available dates for long periods ahead. The remedy is to prevent by legislation the booking of any picture by an exhibitor until tne picture has its material existence in the country. It should be 'trade-shown* once and then registered as available for exhibition. Such legislation would not unduly restrict or interfere otherwise with the usual trade customs, and we believe the exhibitors themselves desire the elimination of blind booking."