BRITISH FILMS AND THE FUTURE

Sun (Auckland), Volume II, Issue 335, 21 April 1928, Page 23

BRITISH FILMS AND THE FUTURE

AMERICA'S STRANGLEHOLD "CAN MAKE WITH BEST” I i “The film, as a source of j { civilisation and culture, can i | be invaluable. It influences i i and forms national habits j ; and customs. We cannot al- | i low our people to be denation- j j alised through the medium | of the moving picture.” I ! This is the contention of J i Sydney Carroll, the well- j I known British critic, and the 1 j writer of the following ar- j tide.

\VHENEVER I feel depressed on the * * subject of the British film industry, I always like to remember that moving pictures were invented by an Englishman, that before the war England led the way in film production, and I console myself by reflecting that with very little encouragement she' ought to be able to do so once more. It may be true that British films as they exist at present are in the main not appreciated by the bulk of British audiences that they lack qualities supplied elsewhere. But as 93i per cent,, of the films shown in this country, come from America, how is it possible from the limited margin left to judge the true value of British films as a whole? In 1914, while Britain went to war, America went on making films. American commercial prosperity to-day is due primarily, in my opinion, to the commercial propaganda value of American film enterprise throughout the world. Americans have made the kinema industry the fourth largest business in America. DANGEROUS PRODUCTIONS We do not need Mr. Bernard Shaw to remind us that many American films are dangerous productions. His condemnation of their anarchical doctrines of heroes who are permitted to break all law and order, and even to kill in the name of love, has long since found an answering echo in our hearts. Americans charge British films with being “stuffy.” It is better to be stuffy than to be either demoralising or daft, and sometimes both. Some folks think that legislation to restrain foreign competition will not help British pictures. They say that until the British are able to produce good pictures, no attempt should be made to restrict the supplies to British exhibitors. This is

equivalent to saying- that no child ought to receive nourishment until it is in a position to earn its own living. The main weaknesses of British films in the past have come chiefly from the want of money, through financial anaemia. That is now being cured. Monev is pouring into the British film industry, and it must continue until it becomes a flood. AS PROPAGANDA There is no argument whatsoever that can be advanced against the circulation of British films throughout the world. Through films we can reveal to the nations of the world the story of Britain’s wonderful rise to power, her achievements in industry and commerce. The sum of £30,000,000 was taken last year at the box offices of British kinemas— 36,ooo,ooo visit cinemas in the British Isles every week. The effect upon this mass of the population of American ideas and American ethics must necessarily be serious. Great Britain can produce films which will beat America’s best. According to D. G. Williams, one of the American leaders of the film industry, America itself is even hungry for British films. British films will, ip his view, make more money in America than anything produced in Hollywood* We must at all costs stop this strangehold on the film industry by America. The main film interests of the world are controlled by five large American trusts. These trusts, with the aid of Wall Street, have purchased most of the big American theatres. They have gradually secured an octopus hold on the film markets of the world. Iso film except that of an allAmerican organisation can realise the major part of its cost? from American distributors. These five big American trusts can, by refusing to accept foreign films, make it impossible for foreign companies to produce their films In America. IMPERIAL ASPECT The Imperial aspect of the question must be considered. During the past three years only 17 British pictures have been shown in Australasia. Some 20 British films only have been shown in Canada for the last four years, against thousands of American films. Many of these pictures are saturated with offensive American propaganda. Throughout the Empire the film manufacturers of the States are gradually acquiring control of British kinema theatres. Trade follows the film. Although British films are admitted free into the colony of Victoria, as there has been no encouragement to produce British films in the past, the concession has been practically valueless. Very few British pictures have found their way to Australia, and 90 per cent, of the total footage of films imported into Australia comes from the United States. Of the balance of 4 per cent., about half comes lrora the United Kingdom. Think of it! We have only 2 per cent. British interest on the Australian film-going public. This figure is all the more remarkable when one reflects that the exhibitors :of Australia and New pay ! the film exchanges some £30,000,000 | weekly. No less than £1,000,000 finds j its way every year from the Common- ! wealth to American producers. ! ;