Legislative Patriotism

Sun (Auckland), Volume II, Issue 396, 3 July 1928, Page 8

Legislative Patriotism

Effect of Film Quota FE proposal of the New Zealand Government to insist upon the exhibition of a substantial quota of British or Dominion films in all theatre programmes, is received with mixed feelings by those in the screen world. Renters are more or less indifferent, and feel that if it is the law. British and New Zealand pictures will be shown. Exhibitors, on the other hand, although slightly divided, contend in the main that competition in art should be unrestricted and without the sphere of State interference.

Those dealing in cinematograph films in this country were warned during last session of Parliament that the Government intended to institute a quota for the benefit of Empire pictures, and a measure which was then drafted containing on outline of the scheme, was kept off the Statute Book until the trade had discussed its merits and envisaged its possibilities. It is universally conceded that control of film programmes by quota is uncertain; and representations probably will be made to the Prime Minister shortly in an endeavour to have the legislation drafted to suit the general requirements of renters, exhibitors, and the public. The advent of the quota is accepted more or less as a plain intimation of destiny, and those most concerned are now anxious to avoid any strangulation of the general welfare.

It is possible, moreover, that the figures proposed for the quota (7 per cent, rising to 20 per cent, in 11 years in the case of renters, and 5 per cent, rising to 20 per cent, in 11 years in the cast of exhibitors) will be modified. This modification is inspired by exhibitors, who point out that scenics and news reels, and educational and science pictures are excluded from the quota, only features, or “story” films being accounted for in the British percentage. This means that when the aggregate length of British film on a programme is calculated, a great deal more than 5 per cent, will be shown. The possible effect of the operation

of a film quota in New Zealand is being discussed by movie men in speculative strain rather than in the definite belief that good or evil will result. Exhibitors are inclined to view the legislation as a Bill for the renters, because all films will still come through the film exchanges-—many of them possibly at cheaper rates. “If we could replace say eight of our worst features with eight good British pictures during the year, we would be pleased so to do,” said one renter in Auckland, “but the eight films which we are compelled to accept might be worse than those which we have to reject.” It is considered by one representative of the exhibitors’ interests, that the establishment of a quota would create a ready-made market for the film exchange, enabling the renters to fill the requirements with pictures of doubtful quality and of uncertain appeal; yet another foresaw a stimulus to British movie production with improved facilities, and consequently with a higher-grade picture. OUTSIDER CONSIDERED The possibility of a greater movie output in New Zealand resultant upon a quota was avoided by screen men as an unknown quantity, and a distinct difference of opinion was revealed as to the lines upon which this country should advance in the making of its own pictures. The opinion was expressed very definitely in one quarter, however, that insufficient encouragement was given to the New Zealand producer, and too much consideration proportionately given the outsider who came from overseas to exploit our photographic potentialities. “We are becoming too Americanised,” was the point made. “Outsiders receive all the consideration, and our own men nothing at all.” Several New Zealand films, “Hinemoa,” “Te Kooti’s Trail,” and “Eewa’s Last Stand,” were mentioned as examples of the best the Dominion had accomplished, and a general desire for greater effort on these lines was expressed. “STUNTING” One man delivered a vital blow to the optimism and the pride of the New Zealand producer. "We have the scenery and we have the light,” he said, “but we obviously have not the other facilities. One or two good pictures have been produced here, but in the main the producers have undertaken purposeless stunting with local colour, which has proved a failure commercially.” The people’s viewpoint was never overlooked by the screen managers. Public appetite is the barometer of their business, and they, in their appreciation of this, aim to direct the cinema not through the sluggish and insecure channels of experimental legislation, but toward a sensible solution of the chief riddle of man—the attainment of that larger, happier, nobler and fuller life, for which he strives and hopes.