Document Resume Ed 077 222 Em 011 126 Title

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ED 077 222 EM 011 126

TITLE Cinematographic Institutions. A Report by the International Film and Television Council (IFIC). Reports and Papers on Mass Communication Number 68. INSTITUTION United Nations Educational, Scientific, and Cultural Organization, Paris (France). Dept. of Mass Communication. PUB DATE 73 NOTE 99p. AVAILABLE FROMUNIPUB, Inc., P. 0. Box 433, Murray Hill Station, New York, N. Y. 10016 ($2.00)

EDRS PRICE MF -$0.65 MC-$3.29 DESCRIPTORS *Developing Nations; Film Libraries; *Film Production; *Films; *Institutions; Instructicnal Films; Mass Media; *Organizations (Groups); State of the Art Reviews IDENTIFIERS Canada; France; Great Britain; India; *International Film and Television Council; Poland; Sweden; UNESCO

ABSTRACT The United Nations Educational, Scientific and Cultural Organization (UNESCO) entrusted to the International Film and Television Council (IFTC) the task of collecting documentationon world cinematographic organizations, in order to provide developing nations with information useful to the establishment of similar services adopted to their particular heeds..The IFTC's studyfocuses upon institutions of a public nature whose objective is to promote the cinema and its applications to education, science and culture. The nature and function of the cinema are discussed, along withthe kinds of audiences aimed at, the stages of operations involved in making films, and the-types of institutions whichcarry on these operations. Information is provided on particular institutions which are responsible for specific categories of films --such as educational, scientific, and children's films- -and for different stages of film production. The final major section explores examples- -drawn from India, Canada, Sweden, Britain, France and Poland --of centralized national cinematographic institutions with inclusive functions. Seventeen appendixes provide additional details about aspects of cinema. (PB) Em oi romp Reports and Papers on Mass Communication vnt9C33172MUMSCAVSZu,s1 ER,A7 u. C717:=217rant araTIV4VM feir" O This series ofReports and Papers on Mass COMmunicationis issued by the Department of Mass Communication. Unless otherwise stated, the reports may be reproduced in full or in part, provided credit is givento Unesco. The following reports and papers have so far been issued and are obtainable from National Distributors ofUnesco Publications or from the Department of Mass Communication, Unesco, Place de Fontenoy, 75700 Paris.

REPORTS AND PAPERS ON MASS COMMUNICATION

Number Number 21Current Mass Communication Research I - Bibliography of 53 Communication satellites for education. science and Books and Articles on Mass Communication Published culture; t967. since I January 1955, December 1956. 54 llnun film for adult audiences. 1968. 22 Periodicals for New Literates: Editorial Methods, June 55 Television for higher technical education of the employed 1957. (out of print). A first report on a pilot project in Poland. 1969. 23 Cultural Radio Broadcasts. Some Experiences, December 56 Book development in Africa. Problems and perspectires. 1956. (out of print). 1969. 24 Periodicals for New Literates. Seven Case Histories, 57 Script writing for short films. 1960 November 1957 (out of print). 58 Removing taxes on knowledge. 1969. 25 Adult Education Groups and Audio-Visual Techniques. 59 Mass media in society. The need of research. 1970. 1958. 60 Broadcasting from space. 1970. 26 The Kinescope and Adult Education. 1958 (out of print). 61 Principles of cultural co- operation. 1970. 27 Visual Aids in Fundamental Education and Community 62 Radio and television in literacy. 1971. Development, 1959 (out of print). 63 The mass media in a riolent world. 1971. 28 Film Programmes for the Young. 1959 (out of print). 64 The rile of film in development. 1971. 29 Film-making on a Low Budget. 1960 (out of print). 65 The practice of Mass Communication: Some lessons from 30 Developing Mass Media in Asia. I960.(out of print). research research. 1972 31The Influence of the Cinema on Children and Adolescents. 66 A guide to satellite communication. 1972. An AnnJtated International Bibliography. 196 I.(out of print). 67 Television for Higher Technical Education of k'orkers 32 Flint and Television in the Strrice of Opera and Ballet Final Report on a Pilot Project in Poland 1973. and of Museums. 1961 (out of print). 68 Cinematographic Institutions. 1973. 33 Mass Media in the Developing Countries. A Unesco Report to the United _lotions. 1961. (out of print). 34 Film Production by International Co-operation. 196I. 35 World Film Directory. Agencies Concerned with Educational. Scientific and Cultural Films. 1962. (out of print). 36 Methods of Encouraging the Production and Distribution of Short Films for Theatrical (Ise, 1962.(out of print). 37 Developing Information Media in Africa. Press. Radio. Film. Television, 1962.(out of print). 38 Social Education through Television. 1963. (out of print). 39 The Teaching Film in Primary Education. 1963 (out of print). 40 Study of the Establishment of National Centres for Cataloguing of Films and Television Programmes. 1963 (out of print). 41 Space Communication and the Mass Media. I964.(out of print). 42 Screen education. Teaching a critical approo^h to cinema and television, 1964. 43 The Effects of Television on Chddren and Adolescents. 1964. 44 Selected List of Catalogues for Short Films and Filmstrips. 1963 Edition. 1965. 45 Professional Training for Mass Communication. I965.(out of print). 46 Rural Mimeo Newspapers. 1965. 47 Books for the Developing Countries: Asia. Africa. 1965. 48 Radio Broadcasting serves rural development. 1965. 49. Radio and television in the service of education and development in Asia. 1967. 50 Television and the social education of women. 1967. 51 An African experiment in radio forums for rural derekp- menL Ghana. 1964/1965. 1968. 52 Book development in Asia. A report on the production and distribution of books in the region, 1967. Cinematographic institutions

A report by the International Film and Television Council (IFTC)

p.--v- I!

U S DEPARTMENT OF HEALTH. EDUCATION & WELFARE OFFICE OF EDUCATION THIS DOCUMENT HAS BEEN REPRO- DUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIG MATING IT POINTS OF VIEW OR OPIN- IONS STATED 00 NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EOU CATION POSITION OR POLICY

Unesco English Edition ISBN92- 3 - 101076 - X French Edition ISBN92 - 3 - 101076 - 3

Printed in 1 )73 in the. Workshops PERMISSION TO REPRODUCE THIS COPY of the United Nations Educational, RIGHTED MATERIAL HAS BEEN GRANTED Scientific and Cultural Organization, BY Z Place de Fontenoy, 75700 - Pad!, France UNESCO TO ERIC AND ORGANIZATIONS OPERATING LC No 72 - 97407 UNDER AGREEMENTS WITH THE US OFFICE OF EDUCATION FURTHER REPRODUCTION Printed in France OUTSIDE THE ERIC SYSTEM REQUIRES PER 0 Unesco 1973 MISSION OF T HE COPYRIGHT OWNER CONTENTS

Page

PREFACE 5

INTRODUCTION 7

Nature and Function of the Cinema 7 Films for Different Audiences and Uses 8 Stages of Operations 9 Types of Institutions 9 INSTITUTIONS FOR PARTICULAR CA'rEGORIES OF FILMS

Shorts and Features 11 Educational Films 11 Scientific and Industrial Films 13 Films on Art and the Humanities 15 Children's Films 15 Animation Films 16 News Films 16 Films for Television 16 INSTITUTIONS FOR PARTICULAR STAGES AND FUNCTIONS

Technical and Engineering Development and Standards 19 The Financing of Film Operations 20 The Training of Creative and Technical Personnel 21 Archives and Libraries 23 Non-Theatrical Film Distribution 24 Film Cataloguing 25 Cultural Film Exhibition 25 OVERALL INSTITUTIONS

The Films Division of the Ministry of Information and Broadcasting of India 27 The National Film Board of Canada 32 The Swedish Film Institute 34 The British Film Institute 36 The Centre national de la cinematographie in France 41 The Polish Model of a Nationalized Film Industry 48

CONCLUSION 51

3 Page ANNEX A : Educational Media Organizations and EducationalTechnology. 54

ANNEX B : Scientific Film Associations 57

ANNEX C : Children's Film Centres and Production 59 ANNEX D : Scope in Animation: by John Ha las 63 ANNEX E : News Film Organizations 65 ANNEX F : Cinematographic Technical Associations . . 68

ANNEX G : National Film Schools 70 ANNEX H : A Note on Film Archives :*)v Jerzy Toeplitz . . 73

ANNEX J : A Non-Theatrical Filni Library:by Arthur Vesselo , 78 ANNEX K : Film Societies 80 ANNEX L : Art Houses in Developing Countries :by Paul Leglise 82 ANNEX M : Production Control for Information Films 83 ANNEX N : An Act respecting the National Film Board ofCanada 85 ANNEX 0 : NFB Production, Technical Operations, and Distribution Summaries, and Statement of Incomeand Expenses 89 ANNEX P : BFI Income and Expenditure Account 93 ANNEX Q : General Dispositions of the Ifalian Cinema Law: by Mario Verdone 95 ANNEX R : International Associations 97

4 4°450.fr

PREFACE

At the sixteenth session of Unes cc's General Con- The present report is in a sense a collective ference in October 1970, a number of delegations work, since in order to prepare it the IFTC has proposed that the Organization collect documenta- benefited from the assistance of many organization on world cinematographic institutions whose tions,institutions and associations active in the example could stimulate the establishment of simi- field of film.The manuscript has been checked lar services adapted to meet the needs of develop- by all concerned.Responsibility for the choice of ing countries. examples and views expressed rests, however, with In response to this request, Unesco entrusted the IFTC. the International Film and Television Council (IFTC) It is hoped that the considerable amount of in- with the preparation of a report on the nature and formation contained in this publication will be of use objectives of a number of cinematographic institu- to all concerned with film-making In the developing tions in various countries which could be considered countries, both governmental and private, and will representative of the bodies established to meet the permit an appreciation of the role and functions of varying requirements of different facets of the film cinematographic institutions in the development of industry as a whole. national film industries.

5 INTRODUCTION

This is primarily a study of institutions of the pub- iceas by word and image which the IFTC, in support lic or public utility character whose purpose is to of Unesco, seeks to foster. promote the art and technique of the cinema and Nevertheless,the institutions described do, their applications in education, science and culture. we feel, provide a host of useful ideas the reader The study will,it is hoped, provide convenient in- can adapt to the circumstance's with which he or formation for comparison and will stimulate thought she may be called upon to deal.Thus it seemed about their own problems and solutions to them on useful to give a fairly detailed account in one or the part of those who are concerned with the estab- two cases of how much it costs to run various insti- lishment of institutions of the sort, especially in tutions and services in the countries concerned. developing countries. Obviously the scale of such costs would need to be Organizations of the film and trade association adjusted, up or down, to fit the economic situation and trade union-types are not dealt with.Strictly and the stage of industrialization in other countries. speaking, they are marginal to the present inquiry. The description of the various kinds of institu- But they are undoubtedly "institutions" and very tion proceeds from the particular to the general. essential ones for the film industry and its cultural The types of organization referred to in the chap- development. So much so that they would merit a ters on particular aspects are to be found in a wide whole separate study to themselves. range of countries in different parts of the world, It should also be underlined that this is not an as the annexes supporting these chapters testify. inquiry into how to set up and run national film In dealing with institutions of a general or overall industries. nature, a limited number of examples have been The first chapter on the nature and function explored in depth.These have been chosen not so of the cinema, and the other opening chapters on much on a geographical basis but rather as illustra- types of films, distribution, audiences, uses and ting different types of organizations and approaches. stages of operations together make up what is in Because the aim has been to provide a varied effect an agreed statement.This was formulated gamut of information, the annexes are ar rtant at a meeting of representatives of film institutions part of the study.Among ett...tr things, pro- and organizations convened by the IFTC in 1971 as vide names and addresses of organize,. both a preliminary to the present study.This meeting international and belonging to individual countries underlined one point of great importance: the study from which those interested can obtain fuller in- should not suggest in any way that the institutions formation on specific points. covered in Aare "model" ones. Because conditions This work is the first result of studies in this vary so greatly from country to country, any sug- field by the IFTC.The preparatory meeting refer- gestion to that effect would be unrealistic. red to above set in train a further inquiry into the The study is therefore a descriptive and not a needs of African countries in respect of cinemato- commendatory one.The examples are meant to graphic institutions and the types of such institu- illustrate a variety of practices in different coun- tions existing in them. tries and certainly it should not be assumed that the IFTC is necessarily recommending the practices described as suitable for use in all countries. NATURE AND FUNCTION OF THE CINEMA This applies particularly to certain fiscal practices affecting films which go back historically to periods The cinema is a many-sided phenomenon whose when economic conditions governing the film indus- true importance in our lives has only gradually try were vastly different from today and which are begun to be under stood.Nowadays, in enlightened any way contrary to the notion of the free flow of societies, there is a better appreciation of the need

7 to ensure its proper development in the national to take into account the general approach to the interest both internally and in respect of film a country's and to the various elements upon which publicpoli- relations with other countries and its place in the cies towards it are based. One world. way of looking at this is to examine the legal bases on which thecine- The degree to which a community recognizes ma can operate in a country. Unfortunately, legis- the importance of the film reveals itself in a number lation of this kind is often fragmented and doesnot of ways, economic, social, political and legislative. take into consideration all the main aspects ofthe Here we are concerned with a particular aspect of cinema.But there are some countries in which this - +he creation of institutions through which pub- more general laws of the cinema have been introdu- lic interest in the cinema is served. ced. Perhaps the more comprehensive is theItalian Such institutions are naturally influenced by the cinema law enacted in 1965.It defines the film. as functions of the cinema and its characteristic fea- "a means of artistic expression, culturaleducation tures.It is generally agreed that the cinema isor and social communication." can be an art and technique of expression, an indus- Another way of looking at it is to see which trial process, an attainment of education andan government departments deal with the cinema in informational medium. The diversityof there fu.4c- different countries,Here too however the pattern tions. and the fact that they inter-act and that the is not clear.Departments responsible for films distinctions between them are fluid raises problems can bethe Ministry of Culture, or of Education,or of public administration and policy affecting cinema of Communication, of Information, of Commerceor institutions. of Tourism. Co-ordination at the national level does The cinema as art and as "language" is of ob- not always seem to be as efficient as it couldbe. vious relevance to national policies regarding.the The cinema, even more than the othelmass media, arts, leisure, entertainment and social amenities. appears to present rather intractable problems of To neglect this aspect leads ultimately to theim- overall national administrative responsibility. poverishment of cultural resources and of a nation's A solution which is often adopted is tohive off creative capital.This brings up the question of responsibility to a "common service' type official responsibilities, ministerial or otherwise, for the department or to create the kind of institutionsof trainingof creative personnel. So too does the fact a public utility nature in which the present study is that film-making is a sophisticated craft usinga especially interested, highly complex technology refined continuously and Before turning to types of institutions,some- sometimes rapidly by advances in optics and elec- thing must be said of the main categories of films tronics and requiring adequate arrangements for that are produced. their uses, the channels bywhich industrial apprenticeship and training. The cinema they reach the intended audience, and the various as an industry calls for decisions in the field of in- stages of film operation. vestment and finance and the allocation ofresources, and for IN zticular infrastructures. So do theuse and exploitation of the products, especially feature FILMS FOR DIFFERENT AUDIENCES AND USES films, of the industry. The film in education is based on other infrastructures, other approaches, The channels by which films reach audiencesare of other methods, other areas of official responsibility. course related to their potential use. They condi- But it would he a serious mistake toassume that the tion the films produced and by the same token the two worlds are unrelated to each other. This is true institutions concerned with them, Though new forms also of the film as a medium for news, public rela- o! video-cassette distribution areon the horizon, tions, information and for the "projection" ofa coun- three channels still provide the overall pattern; try abroad, involving policies in communications theatrical exhibition; non-theatrical exhibition; and and foreign relations. television. The key notion is that the film isa "medium". Documentaries and shorts find outlets,as do To use an analogy from chemistry, it is the "bond" cinema newsreels in some countries, in the thea- between the various aspects of the cinemawe have trical circuits. But these circuits cater predomi- been discussing. With the growth of television of nantly for full-length entertainment feature films which it is a staple ingredient, this importance of which are usually the most expensive to make; costs the film as a medium has been intensified.But it of production, distribution and exhibitionmust for should not obscure the truth that film is alsoan the most part be re-couped at the box-office, Fea- "art", a "thing-in-itself", and that in thissense, it ture films and entertainment shorts are also dis- is more than an ancillary medium,There is in tributed non-theatrically but this channel is largely short an autonomous kind of human activity which used for the distribution of a wide range of educa- is sometimes referred to as "film culture". This tional and specialized films: costs are often met ambivalence needs to be borne in mind for itcan by sponsorship or subsidy. Television draws not raise institutional and organizational difficulties. only on films made by and for the medium, buton Certainly it affects the way the subject of thepre- all the other categories of filmsso long as they sent survey is to be approached. meet programme requirements:television also Clearly, in a Survey of this kind, it is desirable uses footage (shots and sequences) on a scale

8 hithertounknowninfilm-making. Televisionusageforgeneralaudiencesis It is essential to take cognizance of these varia- more "cried but obeys fairly standardized norms. tions in the ways film reach audiences and the in- It is when we come to the specialized uses of films frastructures, the techniques and the formats, etc., that the greatest diversity of usage patterns is to most appropriate to each channel. be found.One of the most important considerations In analysing institutional patterns, an important here is the role of the film medium as one of a factor is the categories of film they are meant to "family" of audit:-visual aids tolearning or of deal with.The variety -,f these categories emerges "multi-media" packages. if we consider the types of films with which the A further set of operations centres round the various international bodies belonging to the IFTC archive uses of film, of which there are two distinct are concerned.They range, for example, from types.The first depends on the preservation of features and short and documentary films for show- films for historical research and film appreciation, ing to general audiences in cinemas or elsewhere and other aspects of the work of film archives.The to those for education and instruction, for special- second concerns provision for illustrative insertion ized audiences interested in science and research or compilationof stock shots and sequences, and and in the arts, films calling for special techniques, the activities of film production libraries. films for youth and films made primarily for tele- Finally, there are the various activities which vision. aim at increasing public understanding of what we have called film culture - through screen education, formal and informal, and special screenings and in STAGES OF OPERATIONS other ways. Despite certain differences, these types of films call on certain common practices and procedures. TYPES OF INSTITUTIONS Along with the stages they pass through, these procedures provide bases for analysing film institutions. Film institutions may then be called upon to fulfil Stages involved include all the necessities of a great variety of purposes.They reflect this film creation and production adapted to the size, variety and if we are to distinguish the wood from scale, and complexity or otherwise of operation and the trees and useful lessons are to be drawn for the audience targets.They imply the necessary application in developing countries, the diversity physical and organizational pre-conditions- :Audios of form and function must be borne in mind. and equipment, processing and printing It boratories The ultimate criterion is the relevance of the etc. together with the industrial and technological institutions concerned to the situation facing a infrastructures and set-ups, the investt-ents and developing country desirous of establishing film the entrepreneurial initiatives they demand. Within operations and seeking the fruits of the experience this same group of activities must be placed the of other countries.Capital and operational costs arrangements for fostering research and develop- and economic viability will be crucial and solutions ment on the technical side of the industry.Impor- willneed to take realistic account of the economic tant too are the training and apprenticeship facilities limitations.However, technical progress in the to which reference has already been made. film medium is opening up new possibilities which The complex of operations under the heading maybe of especial significance for the aims of the of distribution relies on structures and practices present study.Institutions which take these inno- that differ of course from those of production. They vatory factors into account are therefore of special also differ from each other somewhat according to interest. whether commercial exploitation, specialized uses In the following pages, the institutions covered or television outlets are being sought.Institutione I are divided according to the two broad divisions of arrangements reflect all these variations. film types and operational stages. Institutions con- Then, there are operations that relate to the cerned with particular categories of films are dealt uses of films.For feature films, the pattern is fair- with first, then those for particular stages.Finally ly uniform and is based on distribution through cir- a certain number of individual institutions of an cuits or otherwise to public entertainment cinemas. overall character are examined in greater detail.

9 INSTITUTIONS FOR PARTICULAR CATFGORIES OF FILM

Predominantly, as was pointed out in the Introduc- and scope of cinematographic institutions can be tion, "institution" is takon here to mean a body of fundamental. But it is a subject which belongs public or public utility character. However, when more fittingly to a later part of the present survey. we come to institutions concerned with particular It concerns rather the cinema for the general pub- categories of films or particular stages of film lic and not fc'r particular purposes or audiences. operations, distinctions are less clear.Often such We deal with it therefore in the chapter on overall institutions bring together official bodies, voluntary institutions. o.:es, professional and trade organizations and learned societies.This is especially striking when we compare how specialized institutions of the same EDUCATIONAL FILMS kind are organized in different countries.The approach to film institutions should therefore be broad These represent the widest and most important and flexible, and pay close attention to local needs category of film for particular applications. and conditions. The idea of using the film for educational purposes goes back indeed to the birth of the cinema. Those who invented the new medium saw it in fact SHORTS AND FEATURES largely as an instrument of science and education and the advancement of knowledge.But it was unly It is a curious fact that,traditionally, the main after the introduction of non-flammable film in 190 division of films into categories has been based that it became cafe to bring films into the class- purely on length or duration.The very first films room on any scale.Since then the vs lue of films were of course extremely brief, a matter of seconds in teaching at all levels has been dem mstrated by rather than minutes.But even when, in the early a considerable body of experience aod research. years, the cinema as a spectacle or entertainment This has been confirmed by the enormous increase had begun to establish itself, the standard duration in the use of films for instructional purposes during of a film remained that roughly of a single reel co- and after the Second World War. responding to the 10-minute length of a vaudeville But the realization grew, especially from the turn or act whose place the film was tending to usurp 1930's onwards, that the production of films for in music hall programmes.In due course, films teaching Is a highly specialized activity, calling for grew longer stretching eventually to three and a qualities not necessarily required for other types half hours or more.However since the 1920's at of film.Thus, the making of a good teaching film least, films for showing in cinemas have been of must take into account sound teaching-Piinciples two main!finds defined largely by length - features which include; clarity of exposition and its stage- andliiaitii. (1) by-stage unfolding; repetition, recapitulation sand Features are films above a certain length, often the underlining, by commentary and visuals, of determined by law, and varying between 630 and salient features; evoking and maintaining an active 1600 metres of 35 mm film. They are usually about interest, and avoiding fatigue.Demonstrations of two hours or so long and are fiction films, but not concrete phenomena (which the film can provide necessarily so.Shorts are, by the same token, most admirably when such phenomena are remote films of a lesser duration: often they are non- fictional, but need not be so. Thedivision into shorts and features is an im- 1. The use of "feature" in the sense described here portant one in respect of films for theatrical distri- is peculiar to the cinema.It is used quite dif- bution and exhibition.Its effects on the conception ferently in journalism and television.

11 or inaccessible) must be purposefully shot and Closed circuit television edited. The audience to be served, and their Video-tapes Wall charts genuine needs and intellectual levels,should be Records closely defined in advance. Flannelgraphs When these criteria Tapes Magnet boards are respected, the film-maker can offer the teacher Language laboratory/Teaching an incomparably flexible vehicle for self-expression. machines for AV programmes But it became abundantly clear that thisco-opera- Electronic video-recording tive process between film-maker and educational Computers user calls for special forms of organization and Though they are now, with one exception,multi- indeed for special institutions. media in scope, the ICEM survey underlinesthe In consequence (and this remained trueup to predominant role of films in the work of audio- ten or fifteen years ago) the production and distri- visual institutions: bution of educational films have been largely under- "Te lching films are the main items of produc- taken by a certain kind of film institution- national tion of the national audio-visual services, from educational or school film services or agencies and the financial as well as from the educational the like. More recently, however, the scope of such point of view. The methods of production used bodies has been enlarged to cover not only films but in the different countries are partly thesame all the other audio-visual media and materials- and partly different from each other. radio and television programmes, filmstrips,video- Production is almost always initiated by tapes and sound recordings and so on. the national centre, which is sometimes advised Some of these bodies have always dealt with the by an educational committee or by the depart- other audio-visual media as well, but this became ment of education. themore The money for production or less general practice during the is taken from the budget of the nationalcentre. "sixties".Today, with few exceptions, films occupy Foundations receive certain state subsidies only a part of "muligmedia" activities of suchinsti- for production. tutions. It is very rare that private Historically, this trend is reflected in the producers or sponsors finance productionpro- changes of name of the international organization jects. grouping these bodies.Until the 1960's, this organ- Production projects are either carried out ization, setup in 1950, was called the International by own teams of the national centreor, on the Council for Educational Films, but thisgave way to basis of a contract, by independent producers an intermediary title including the term "audio- visual" until the present appellation"International in accordance with the directives given by the national centre. Some countries proceedin Council for Educational Media" (ICEM)was adopted. both ways. The institutes in Austria, France, A recent survey -arried out by the ICEM forUnesco the Federal Republic of Germany, Netherlands analyses how such audio-visual institutionsare ad- and Sweden have their own production minister ad. (1) Though the survey is confined crews. to To some extent these units have tocarry out eight countries in Western Europe; the patternre- experimental work.. Teachers take part almost vealed is probably not untypical of suchinstitutions everywhere in the selection of titles according elsewhere. The ICEM survey found that theseinsti- to the curricula, in scriptwriting,as advisors tutions were financed in one or more of fiveways : to the production and as authors of the notes (1) state subsidies; (2) local governmentfunds; (3) accompanying the films. "(2) contributions from schools; (4) sales of services, materials and equipment; (5) grants.In only three The exception to the general multi-mediapattern of the eight countries did private industrycontribute is that of the Statens Filmcentral in Denmark which and then on a relatively modest scale.The struc- confines itself to 16mm and 8mm films.But as tures of these institutions had points incommon but may be seen from the following account from the varied between: (1) systems with one nationalcentre ICEM survey which is worth quoting in full,Statens serving the whole country; (ii) local centres ineach Filmcentral is something rather wider thana teach- town or small administrative area; (iii) and systems ing film organization: now being developed where individual schools have "It is the Danish Government Film their own AV centres. Office with Generally speaking, these its headquarters in Copenhagen anda branch audio-visual services were not responsible forpro- office in Aarhus for distribution only in Jylland. viding school radio and televisionprogrammes which is done by the broadcasting authorities Statens Fiimcentral is under the Ministry of (the Cultural Affairs.Its annual budget is made up one exception here being France).The remaining entirely of state subsidies. media dealt with are mainly: The Ministry of Education gives a special grant, permittinga Film 16mm silent Slides Film 16mm sound Slides combined with tapes 1. Schmid, F.: Comparative Study of the Adminis- Film 8mm silent Filmstrips Film 8mm sound tration of Audio-visual Services in Advancedand Transparencies for over- Developing Countries, Part I, ICEM, Paris, 1970. head projectors 2.Ibid. ,pp. 41-42.

12 very limited production of teaching films.Two Already by the turn of the present century, stop- featuresarecharacteristicof the Danish motion and speeded-up cinematography combined national centre: with microscope and telescope had been used in (a)its activities are turned exclusively biological,medical and astronomical research, to films; high speed cinephotography had made possible film- (b)it serves schools as well as institu- ing at 20,000 pictures a second and (although this tions e. g. voluntary evening classes for adults, is not usually realized) the film camera had already clubs, societies, and other organizers of cul- been applied in psychiatry and the social sciences. tural activities: Since those days, a whole complex armoury of in- (c) it also distributes Danish short films, vestigative cinematography has been built up through sponsored by public funds to cinemas. advances in science,instrumentation techniques These activities are carried out by the follow- and manufacturing competence.Motion picture ing departments: records produced in this way are used not only for 1.The Teaching Film Department research and analysis, but can be incorporated into This department is responsible for the produc- educational films, especially for higher education, tion and acquisition of films for teaching pur- science, medicine, agriculture and industry.They poses in schools and training colleges. alsoprovide the basis for documentary films about 2.The Educational Film Department science for showing to wider audiences in cinemas This department is concerned with the acquisi- and on television. The need to exploit these differ- tion of short films for out-of-school education ent possibilities has led to the creation of a special and cultural purposes in generaL type of organization. 3. The Distribution Department Organizations of this kind - "scientific film This department manages, on a non-commer- associations" or SFA's - have been set up in various cial basis and on payment of rental fees, the countries, especially since the creation in 1947 of hire service of 16 mm films for schools and the International Scientific Film Association (ISFA) other consumer groups throughout Denmark. to which most belong. A special distribution programme is provided The Constitution of the ISFA provides an inter- for Greenland. nationally accepted definition of the scientific film. 4. The Consultative Department This has been summarized as "any cinematograph This department organizes film showings and film which: (1) makes possible the acquisition of courses for teachers and other film users. It new knowledge in any branch of science or techno- co-operates with the "Union of Danish Screen- logy; and/or (2) expounds scientific achievement Education Teachers" and offers a service of and theory; and/or (3) interprets, for specialists information and advice, in particular through and/or. the general public, knowledge of science the periodicals 'SFC-Film' and 'Skolefilm' and and technology and of their social and economic a large film catalogue. "(1) effects. " In other words, scientific films are of The Danish example represents then an ap- the three main kinds we have referred to: research proach which brings together teaching clad cultural ffhils; teaching films; popular science films. film activities under one administrative banner. The case for settingup scientific film associa- It should be added that a strong trend in many tions has been put in a memorandum published some countries is to go further than grouping all audio- years ago by the ISFA but still largely valid.After visual activities together institutionally and to create underlining the value of the film medium for re- agencies for educational technology as a whole in the search, teaching and information, the memorandum sense of technology in education or more fundamen- continues: tally that of the technology of education. This latter "This calls for co-operation between many di- recent concept of a technology of education lies out- verse institutions and persons - scientists, side our present scope but we give for reference in film technicians, administrators, education- Annex A an IFTC definition of the term. ists, and enlightened laymen.Inevitably their efforts overlap, or are dispersed and wasted, SCIENTIFIC AND INDUSTRIAL FILMS unless they can find a common focus. A national scientific film association provides such a The production and distribution of films for teach- focus. "(2) ing science are sometimes; the responsibility of the educational media organizations we have been dis- The same memorandum goes into the functions of cussing and this is especially so for schools.But bodies of this kind.With regard to production, the for the whole field of the applications of cinematography for scientific purposes - research, teaching, the dissemination of scientific information and so on - special organizations have been set up in vari- 1. Schmid, F. : Comparative Study of the Adminis- ous countries. tration of Audio-visualServices in Advanced and As with education, the film in research goes Developing Countries, Part I, ICBM, Paris, 1970, back to the invention of the cinema and beyond. 2. Science and Film, Vol. VI, No. 2, June 1957, p. 46.

13 memorandum says of research and record films: international body concerned, the ISFA, in1947. "The full utilization of motion pictures inre- The Institut de Cin6matographie seientifique(ICS search, ar i in recording phenomena. calls for or Scientific Film Institute) was first established specialized knowledge and equipment.High in Paris in 1930 largely on the initiative of ;Mr.Jean speed and tame -lapse work, filming with X- Painleve and sustained by him until 1940.The ICS rays and other forms of radiation, the success- resumed .ts activities after the War and in 1946be- ful combination of the film camera with other gan to receive astate subsidy.In 1968 it was optical instruments, microscope, telescope, granted official recognition asan "6tablissement require installations which are usually beyond d'utilit6 publique" (public utility institution).Brief- the means of any single scientific institution. ly,the ICS's activities include: research,in two The best solution is often for the national SFA directions - "for the cinema" (into materials,equip- establish a central institute, offering faci- ment, etc. ) and "by the cinema" (by producing lities on a national scale, and staffed by quali- scientific and technical films), the disseminationof, fied scientists and film technicians... Ano- and propaganda for, the scientific film (organizing other partial solution is for individual scienti- conferences, congresses, screening, etc. ). theex- fic institutions to create film departments in change of scientific films: and the "preservation of their own specialization. " efforts" in its field (apparatus, films,documents). The Scientific Film Association of Great Britainhad On the production of teaching and training films, its origins in the Scientific Film Committeeset up the memorandum writes: in 1938 by the scientists' trade union, the Associa- "Record and research cine-materialcan often tion of Scientific Workers, reinforced by thecrea- be used in films for teaching purposes.But tion the following year of scientific filmsocieties such use calls for professional film production in London and Aberdeen, and subsequently inother techniques (scripting, direction, editing, etc. ) parts of Britain, especially Scotland.Recalling and a different sort of organization.A national this, the first President of the Scientific FilmAs- SFA can arr ange or stimulate the establishment sociation,Sir Arthur Elton, has written of the of adequate arrangements for making suchre- meetingwhich led to the inauguration of the SFA in cord and research material accessible to those 1943: "The meeting was attended by representatives professionally engaged in producing teachingor of learned societies, universities and educational training films.In some countries, organiza- groups, industrial groups, and film and photographic tions like the central institute already referred societies of all kinds. "(3) For the first tenyears to at (i) (a) above have specially qualified cine- of its life, the British SFA was maintained largely matographers for this work.But in other coun- by membership dues.With the granting of a state tries, separate organizations may be desirable. subvention there came a change in its constitution Production of science teaching and training whereby the government nominated a proportion of films goes, of course, much wider than the its management Council. The next ph:Ice of the As- question of using research material. "(1) sociation'sdevelopment came in 1967 when it merged with the British Industrial Film Association The memorandum also wisely considers thatar- to form the present organization, the British Indus- rangements for producing popular science films will trial and Scientific Film Association (BISFA). This depend on local conditions.It goes on to suggest greatly strengthened the industrial side of the work. how a national SFA can undertake or promote the The BISFA does not itself make films.But it pro- distribution of science films, their documentation, vides a valuable meeting point for study, research evaluation, cataloguing and exchange.Finally, to and the exchange of ideas between the question: What form of organizat:Jn should the a wide range of national SFA have? sponsors, producers, and academic and other users the memorandum replies: of films of an educational and informationaltype. "An important factor here is whether the SFA Its activities include: providing a service ofadvice; is to be a film producing and/or distributing organizing conferences, seminars and festivalsand organization, or only for study, information other screenings; and the circulation of evaluated and so on.In the first case,considerable data on films through its lists and other publications finance is required and the question of adequate including its bulletin. A main assignment isto run, subventions from public or private sources will on a subscription basis, the country's national cata- be a priority.In the second case, while ex- loguing service - the British National Film Cata- perience has shown that a start may be made logue - covering all films exceptentertainment without subvention and by relying ot. members' features. subscriptions, the successful development of this kind of SFA will also eventually demanda subsidy from outside sources. "(2) 1. Science and Film,Vol. VI,No. 2, June 1957, Two approaches to the organization of scientific pp. 47-48. film institutions are exemplified by those of the 2.Ibid. ,p. 50. countries (France and Britain) which initiated the 3.Ibid. ,Vol. II, No. 3, September 1953,p. 36.

14 Variations on these patterns are to be found in the cinemas and in financing their production. How- other countries.These include specialized centres ever, more recently, the expanding production of producing films for research and higher education films on art for television and other factors en- of which the outstanding example is the Institut fiir couraged those interested to resuscitate and broaden den \Vissenschaftlichen Film at Gottingen in the the scope of the FIFA. This led to its transforma- Federal Republic of Germany.In other countries, tion at a meeting in Venice in 1970 into a new body, special studios for the production of popular science the International Association for Art and the Audio- film are a strong feature.The longest established visual Media (AIAN1A). and the most important of these are in Leningrad, Problems of the film on art emerged clearly Moscow, Kiev and elsewhere in the USSR while from the discussions at the first Assembly of the other popular science film studios are found for AIAMA in Paris in May 1972.Their variety and example in Bulgaria and the German Democratic complexity justify the notion of specialized arrange- Republic.In certain countries, this type of produc- ments for producing and utilizing this type of film. tion is now largely undertaken by the television net- For the director and cameraman, filming a work of works.An important link found in yet other coun- art brings with it problems of access to the work tries -e. g. Australia and It1ly-is that between and of copyright and legal proprieties pertaining to the national scientific-li rTritpdy and the national it. problems of the faithful' rendition of colour tones council for scientific research.The list of national and values, and of developing special techniques and branches of the ISFA, given in Annex B indicates even more what may be called an adequate rationale the range of such organizations. and esthetic in interpreting one art in another quite different one.For the custodians of the works of art - the museum and gallery curators - there are FILMS ON ART AND THE HUMANITIES problems of protecting these works while providing access for filmingon reasonable terms and condi- Institutions for films on other subjects or for other tions and developinga proper sense of responsibility disciplines are much rarer than those for education towards this new medium for communicating art to and science.Moreover the production and distri- mass audiences. Apart from television, the distribution of the general category of what are called bution and exhibition of films on art calls for fresh "cultural films" is usually undertaken by the over- outlets in art centres and elsewhere. all kind of cinematographic institutions discussed In short, co-operation on new lines needs to in a later chapter.But there is one category of be ensured between groups not hitherto closely in film which should be mentioned since there has been touch - creative film- makers and television produ- a considerable re-birth of interest in it,largely cers, museologists, interpreters and communica- thanks to television. tors as well as educators and art administrators This is the type known as the film onart(1) (art and "animateurs". Some kind of institutional pro- here being used in the sense of painting, graphics vision for activities connected with the production and sculpture but also including architecture, town and use of films on art seems then to be called for. planning and archeology). In some cases, this takes the form of special de- In the early 1940's, certain film-makers dis- partments within wider film or television agencies covered the extraordinarily revealing action of the or attached to arts councils or educational bodies. film camera when recording, particularly by slow Alternatively, separate centres for films on art may panning and tilting motion, the details of a work of be justified. visual art.The use by film-makers of this technique, together with the powers of visual analysis and synthesis documentary film editing makes pos- CHILDREN'S FILMS sible, resulted in a genuinely new kind of cultural motion picture. In consequence, thousands of docu- In some countries, especially the USSR,special mentary films abota art, past and present, have studios have long existed for the production of films beenproduced in various parts of the world and the for children.Such films are meant for the enter- work and personalities of many living artists have tainment and leisure viewing, rather than the formal fortunately been permanently recorded on film. education, of children and youth.The Children's Centres and groups interested in films on art were FilmFoundatiOn in London is a variant on this type formed in a number of countries and in 1947 the of institution which is supported by the private film International Federation of Films on Art (FIFA) was industry and uses the industry's resources for mak- setup. For some years, FIFA arranged congresses ing films and its cinemas for exhibiting them at and festivals and published evaluative catalogues of special showings for children.Another type of films on art. organization does not produce children's films but For a time, interest in the film on art as a selects suitable ones and encourages their showing. genre seemed to languisk. 'ue mainly to circumstances affecting other kinds of shorts and documentaries in many countries, e. g. growing d"fficulties 1. At one time also called "art film" but this term in finding commercially viable outlets for them in is misleading and is now avoided.

15 All these kinds of organization are grouped in the NEW FILMS International Centre of Films (Cinema and Tele- vision) for children and young people. We list them in Annex C which also contains a note on children's The role of this category of film has obviously been film production. modified by the expansion of television newsser- vices with their power of immediate reporting. But for the majority of the world's peoples, ANIMATION FILMS television is still outside their reach.Even in the age of satellites this is likely to remain true for Reference has already been made to the use of the some considerable time. single frame or one-picture -at -a-time technique of The production and exhibition of cinema news- filming in the recording and analysis of scientific reels remains therefore an important and indeed phenomena.But the more extensive uses of this essential activity, especially for developingcoun- technique have lain elsewhere - in the animation of tries.In some cases, the production and distribu- drawn,painted,out-out or three-dimensionally tion of national newsreels form part of therespon- modelled objects for the production of cartoon films sibilities of awider film institution of the informa- and educational motion pictures. This technique tional type, and in other cases, private newsreel has been defined more formally as "importinga companies provide the service. Newsreel coverage semblance of movement to inanimate objectson and dissemination isillustrated by the account, cinematograph film by photographing the successive given later in the chapter on overall institutions, of phases of movement in turn, either by drawings or the Newsreel Department of the Films Division of gradual manipulation of the objects concerned. " the Indian Ministry of Information and Broadcasting. The idea of creating the illusion that drawings Activities of this kind by publid or private agencies can "walk (and later) talk" goes back to the optical are going on in about forty countries according to toys of the nineteenth century, culminating in such the 1970 Handbook of the international organization entertainments as the Optical Theatre of Emile grouping such bodies - the International Newsreel Reynaud in which some people have seen the true Association or INA - on which a note is given in origins of-cinema art.But this is a far cry from Annex E.The 1NA estimates the weekly.audience the modern animation studio which puts at the dis- for their members' films to be over 150,000,00Q: posal of a new kind of plastic artist all theresources, people. Traditionally,cinema newsreels haves' optical and e3ectronic, of present-day motion pic- largely been shot and shown in 35 mm, but there is ture techniques. Animation now covers a wide range production in 16 mm and quite sizeaole distribution of processes,not only the creation of animated in this format, while, according to the INA docu- drawings and paintings but the application of frame- ment, there is even a beginning of newsreel distri- by-frame shooting to other inanimate objects such bution in 8 mm. as puppets and marionettes, silhouettes and shapes, and the intervention of the artist directly by drawing and painting on to the actual celluloid of the film and FILMS FOR TELEVISION experimenting on the sound track. These techniques have seen the emergence of a new kind of cine-artist The present survey deals with cinematographic in- and the extension of the animation film to satire, stitutionsand not broadcastingorganizations. drama, philosophical observation, instruction and Nevertheless, even where these latter are of modest exposition. Most recently, the linking of animation size,film departments and services have been tables to computers has opened up new perspectives created within them corresponding to the institutions for more flexible and sometimes more economical with which we are concerned. results, For the major broad-,_ casting corporations, these services can be ona All this calls for special institutional arrange- very large scale; and they often correspond in the ments whichmay take the form of separate units or range of their functions to the overall institutions studios, or the incorporation of such facilities into discussed in a later chapter.In some cases, they larger organizations. are indeed the most important film production agen- Some idea of the variety of animation films is cies in the countries concerned, and the size of provided by the report on such productions during such departments may be judged from the fact that the years 1960-1970 published in English, Russian their film archive libraries contain by new footage and French by the organization which groups film- counted in tens or, for the very largest, in hundreds makes working in this field in various countries- of millions of metres of film. the International Animated Film Associationor This is not surprising because film is a major ASIFA. The Vice-President of ASIFA, John Halas, ingredient in television programmes,and, although contributes the note on the animation film given in these iiclude older features and shorts made for Annex D. the cinema, there is a growing body of films made

16 speciallyfor the television medium by broadcasting other reasons, bound to take into account the tech- organizations themselves or by film bodies.It is nical characteristics of films designed for television, also important to realize that, while there is some the requirements of television programming (parti- exchange o f programmes on video-tapes, the inter- cularly the lengths of films) and the differing econo- national circulation of such materials for television mics and patterning generally of the distribution of is still done predominantly by films. films for television.These considerations affect Cinematographic institutions are, for these and most of the types of film we have been discussing.

17 INSTITUTIONS FOR PARTICULAR STAGES AND FUNCTIONS

The ways in which institutions of this kindare or- motion pictures, sound, television, studio lighting, ganized also varies from country to country; they video-tape.The chairmen of the foregoing com- may be state-sponsored agencies, public utilities, mittees provide the membership for a final one, the professional bodies, learned societies andso on. Standards Committee.The headquarters of the SMPTE are in New.York City, from which its journal of wide international repute is published. Apart from its conferences and certain educa- TECHNICAL AND ENGINEERING tional schemes, the main strand in the Society's DEVELOPMENT AND STANDARDS work is undoubtedly its activity in the field of standardization.A great many American standards A case in point is that of the national bodies respon- have been evolved from the findings of the SMPTE sible for the engineering side of the industry and Committees and have been validated by the American for technical quality development and standards. Standards Association (ASA). The Society also runs Most of these belong to UNIATEC - the International certain ASA Sectional Committees,e. g. PH22 - Union of Cinema Technical Associations.The list Motion Pictures; and C 98 - Combined Video-Aural of Uniatec members, given as Annex F, provides Magnetic Recording for Television. Under the ASA, some idea of the various organizations involved. the Society is responsible for technical guidance Two of these may be taken as examples and looked and Secretariat functions of the International Stan- at more closely. dards Organization's ISO/TC 36 Cinematogr::;111y. The oldest and among the best known organiza- The SMPTE produces a variety of visual and sound tions* of this type is the Society of Motion Picture text films, both photographic and magnetic, to meet and Television Engineers (SMPTE) in America. the needs of television stations, theatres, motion Tho' SMPTE may be described as an it 'ependent picture studios and manufacturers of projection and non-profit organization concerned with the engineer- sound equipment for defining and checking perfor- ing aspects of motion pictures, television, instru- mance. A catalogue of such test films is issued. mentation, high speed photography and the allied The work of the French Commission Superieure arts and sciences.It was established as the Society Technique du Cinema (CST) is similar to that of the of Motion Picture Engineers (SMPE) in 1916 and SMPTE but its institutional character is quite dif- significantly the first scientific paper published by ferent.The CST is an official body, subsidized by it was entitled "Standardization". Eight years later, and linked to the governmental Centre National de it put forward proposals, with very great long term la Cinematographie (CNC)(1) though the creation of implications, for a new standard 16 mm. safety the CST as a group actually pre-dated by a couple film.In 1950, the SMPE added television to its of years that of the CNC in 1946.It is the CNC's field of interest and became the SMPTE. Member- consultative body "for all applications of a techni- ship in 1916 was 24; in 1949, it was about 2,000, cal character aftectingthe film industry. "It is run and now it is four times or more larger drawn by a management committee (Comic Directeur) and largely from the United States and Canada but with an administrative secretariat and works essentially asubstantialminority from oversixty other through two channels: (a) a general study committee countries. (Commission generale d'etude); and (b) a series of The SMPTE is governed by an elected Board technical working sub-committees (Sous-Commis- and works largely through a series of expert "En- sions techniques de travail). These latter deal with gineering Committees". There are such Commit- studios (sets), camera work (studio and other equip- tees for colour, film dimensions, film projection ment and materials), sound, laboratory, editing, practice, instrumentation and high speed photography,laboratory practice,16 mm and 8 mm 1. The CNC is discussed in detail in the next chapter.

A special effects, sound projection and movie theatres, could be made.Today, according to Richard distribution, exhibition, three dimensional colour, Attenborough, "the normal method in Britainis a substandard formats, cinema-television, and audio- 100% financial deal by a distributor visual media. who puts up the entire money, gives the productioncompany a per- The CST undertakes research,testing and centage of the profits and owns the project outright quality control through its services and laborato- the moment it is delivered. "(2) This exampleis ries grouped together as the "Controle technique de drawn from an industry operating ina market enter- cinema" section.This section runs a mobile- prise economy, and the situation is in certainres- laboratory-van which can carry out on-the-spot pects different in the socialist countries where all tests in studios, auditoria, laboratories and movie the means of production and distributionare state- theatres. The section also produces test films and owned.But whatever the economic framework of check cards and charts needed by techniciansand film operations, the dependence of productionin- other users in all branches of cinematography.The vestment on distribution potential seems inescapable. CST publishes a bulletin and various manualsand This has an obvious bearing on how institutionsfor monographs. Like the SMPTE's, much of the CST's financing film activities or indeed for overallfunc- work is concerned with standardization and itpro- tions should be conceived and organized. vides the secretariat for the Standards Office ofthe A key notion is that of using financial aids and French film industry. incentives to foster artistic quality. This notionpre- dominates in the systems for cinema aid adopted in INSTITUTIONS FOR FINAN- most European countries. There is however theop- CING FILM OPERATIONS posite approach which maintains thatyou cannot, by financial aid or legislative provis ion,ensure quality Film finance is a highly complicatedsubject and in this industralized medium of expression, generalization is difficult. and aid But one can say that, must be governed by actual or potential marketsuc- almost without exception, where a country's film cess. The example of this approach most often quot- industry is exposed to the free play of marketpres- ed is that of the British Film Production Agency. (3) sures, some measure of production and financial aid seems to bc. needed. This need has been greatly re- 1.This has become true even for countrieslike inforced by .he expansion of television.Remedial Japan with large domestic markets for films. steps may take various forms- restrictions against More unexpectedly still, the question of subsi- competition through quotas on the distribution and dizing the whole product has been a subjectfor exhibition of foreign films and more positively,the discussion in the U. S. A.This was indicated by domestic industry may be succoured througha sys- e. g.a series of articles in the June 1967 issue tem of awards, credit loans and subsidies. (1) of the Journal of the Producers' Guild of Ameri- These subsidies may be related to qualityor ca, in which the pro's and con's of film subsidies based simply on box-office returns (andmay often were ventilated. be not so much subsidies in the outrightsense as 2. Quoted in Butler,I.:The Making of Feature transfers through levies from one part of the indus- Films, Penguin, London, 1971,p. 27 try (exhibition) to another (production)).Often too, 3. The criterion of economic viability underlies the system of credits may be institutionalized the agencyforloansto the film industry,the through the creation of film finance corporations, National Film Finance Corporation(NFFC). film banks, banking accounts, or special aid film When it was set up in 1949 by the British Gov"rn - funds or foundations. ment, the Minister concerned (the then President Such arrangements may affect all the three of the Board of Trade, Mr. Harold Wilson)remain stages of operations- production, distribution portedly said: "No provision can be made for the and exhibition.This is logical enough because these supply of capital for the purpose of testing whe- stages are undoubtedly interdependent, which holds ther Mr. Xis or is not a genius. " The standard good whatever the system employed for financing film activities. whereby the NFFC grants money was to be, and Even for films of the public rela- is, that of supporting ventureson the basis of tions and informational type paid for entirely by the soundness of their speculative value.There official or private organizations, thenature and has however in recent years been an increasing size of potential distribution and audiences reached awareness of the need to re-define its directives must be the first consideration in deciding the de- and remove the limitations of choice imposed by gree of investment.With films at the opposite end of the range of production them. The managing director of the NFFC said - the major features in October 1967: "In the pastwe have had only a costing millions of dollars- the promise or even commercial criterion in considering projects; the guarantee of distribution is usuallya sine qua but I think we should havea second criterion, non for investment.Thus, for example, when the that the films we support should be films of quali- National Film Finance Corporationwas set up in ty which one is proud to export.I think oddly Britain in 1949, 70% of the productioncosts of a enough, if we had had this dual criterion through- film had to come first from a distribution company out the years, we might have done bettercom- (or a bank) before loans up to the remaining 30% mercially than we have. "

20 The interdependence of the three main stages this rigmarole,and for expressive construction of film operations, and especially as between pro- and reproduction there must be many shots for every duction and distribution, are exemplified in some incident. "(1) of the overall institutions discussed later.These The costs of establishing studies and plant for undertake both production and distribution and to a this type of production are high.In the market eco- lesser extent exhibition.But predominantly they nomy countries, these means of production have have been concerned with short films. largely been created through private investment In the market economy countries,however, and state intervention has often been limited to as- the production, distribution and exhibition of full- sisting in their modernization or extension and their length f',ature films tend not to be institutionalized running costs.The same applies to the creation of inthe way we are mainly considering in the present the other half of the infrastructure of a feature film survey.Usually these activities are carried on by industry - the building of cinemas. private companies belonging nationally to trade as- The highly industrialized and capitalized ap- sociations, which are in turn grouped in three inter- proach to film-making we have been discussing is national bodiesrespectively:theInternational the predominant one for the type of movie which can Federation of Film Producer& Association; the still gross millions of dollars on the international International Federation of Film Distributors; and market.But it is not the only one.Economic the International Union of Film Exhibitors. stringencies, the desire for creative escape from In respect of the three stages of film operations, a "production-line" system, the emergence of the especially production, there is one aspect to which "auteur" idea in film-making and other factors have we have not so far paid much attention.This is the encouraged development towards less rigid and much scale of investment involved, both in providing plant more modestly priced kinds of feature production - and equipment and in maintaining production at a the tendency to move out of the studios and use viable level.Here one must take into account the stories which can be shot on location in the realistic fact that there is a type of production costing so settings of city street or country landscape, the in- much, and requiring so elaborate and extensive an troduction of new formats such as super-16mm. organization in terms of money, materials and men into feature production, refinements in film stock, as to make of it almost a different genre of activity and in cameras and components through advances in from the others. We are thinking of the large-scale electronics, alongside the use of television-type feature "mega-production" calling for big studios, production techniques of feature film planning and and an army of technicians, artists and others run- direction.The pace of innovation is such that the ning into hundreds even on location, and costing production of feature films to international standards many millions of dollars.But even where this type is becoming feasible for countries hitherto debarred of feature production costs only a small fraction of from this sort of enterprise on economic grounds. that of a mammoth motion picture spectacular, it But the entry of new nations into the viable circuits calls for a scale of expenditure well out of range of international feature film circulation is not mere- for many countries. ly a question of money.Creative talents and Two points about this kind of feature production marketing skills are also essential. should however be noted - the complexity of the organization they call for and the fact that this complexity and the costs involved are not merely due to TRAINING OF CREATIVE AND loose or extravagant budgeting, though this factor TECHNICAL PERSONNEL has not been absent from feature production in the past.As to the complexity, this is cleverly visual- The intervention of the state in the provision of ized by the chart, The Cinema, compiled by Alan skilled manpower for the cinema industry is how- Sawford - Dye which we reproduce as Figure I from ever another matter.In recent years, the respon- the book by Ivan Butler already referred to.Under- sibility of governments to provide for the profes- standably, he comments: "With so many parts, it sionaltrainingof creative and technical film seems at first sight astonishing that a coherent personnel has been increasingly recognized.This whole could even result, let alone a work of art. " has led to the establishmept of film training insti- The falsity of the impression visitors to film studios tutions in a number of countries. often receive of "feather-bedding" and over- staffing They can take various forme.One type of has been exposed by Ivor Montagu: "To a layman", institution undertakes to train technicians for the he writes, "the place seems full of lay-abouts.But practical and craft side of film-tnakit:g.At the the swollen-looking staff is all necessary and their other extreme, there is the type of institution which intermittent apparent idleness unavoidable.In film treats film as art as a subject of academic study specialist jobs can only be done in succession. " He though practical film-making may be included in its goes on to describe the successive complex stages courses.Often this type of activity is care :d on which must be gone through on the set one by one before the endless 'takes' actually begin and, as he puts it, the scene clicks expressively 'so'.He 1. Montagu, I.: Film World, Penguin, London, 1964, concludes: "Each separate shot has to go through p.194.

21 FIGURE I THE CINEMA

This treelike chart is a diagram of the growth of a feature film from its beginnings as ides and script to the final version distributed to the cinemas. The vertical lines indicate the avarage proportion of the overall time of this process THE DISTRIBUTORS for each stage or participant and the points at which the involvement of each of them begins and ends are indicated. Reproduced by permission of EMI Elstree Studios. Final Print

Negative Cutting and Grading

Dubbing Crew Music Recording Crews Trailer Compiler Orchestras Titles Designer

Music Composer Portrait Stills Post Synchronising Crews Dubbing Editors Processing Laboratories

Supporting Artistes EditOr^. Crowds

Scenic Artistes Assistant Director Properties Camera Crew Drapes Sound Crew Electricians Continuity Hairdresser Make up Carpenters Stills Plasterers Secretaries Pair'-rs Transport Riggers Etc. Plumbers Stage Hands Etc. Wardrobe Dept. Costumiers Dress Makers Special Effects Dress Designer Draughtsmen

Principal Artistes Production Manager Cameraman Art Director

Casting Director

Publicity Studio Management Accountancy (Fxilities)

Director Scenario writer Producer

Board of Directors N.\ Head of Production Scenario Editor

PLAYS [NOVELS ORIGINA IDEAS RIPTS

22 within a wider framework and in the United States foreigners, were accepted.As was the case last especially many universities run such courses in year, the examining board attached great impor- film.The third main category of institution com- tance to the social background of entrants.A pre- bines both points of view. It approaches film-making liminary examination and numerous consultations, as something which involves two vital aspects; as organized for candidates for entry to the main facul- a medium of communication of immense practical ties, made it possible to raise to 40% the number of significance in the modern world and of education gifted workers and "Kolkhoziens", admitted to the and for imparting information on a wide scale; and Institute. also as a medium of entertainment and an art form This year, for the first time, the system of of great importance.As art it has close relations examinations based on the questionnaire, has been with other forms of expression (music, literature appliedtothe faculty of directors in the studio and painting) but it has developed its own distinc- M. I. Romm.It would seem that this reform was tive traditions, techniques, styles, and concepts. justified as it makes it possible to judge the candi- It is this dual function then of the film as a major dates' knowledge in a more objective manner. means of communication and also as an art form Similarly, an arbitration board has been set and a means of supplying entertainment, which needs up; this board was called in to settle the rare dis- to be preserved and developed if the film is to per- agreements which arose during the entrance exam- form its proper role in all the aspects of national inations. culture. In consideration of the requirements of tele- Most of the principal national film schools ap- vision and of the documentary film studios, the In- proximate to this conception and treat the cinema stitute administration has decided to create a special as both a practical and an academic subject, often studio for training cinema and television journalists, in the latter case at post-graduate levels. The who will in fact be script-writer/cameramen, cap- longest established, the All-Union State Institute able of making a filmed report, writing the com- of Cinematography (VGIKin Moscow, may serve mentary of their film as well as editing it and add- as as example. ing sound.The curriculum for this studio has been VGIK is as old as the Soviet film industry it- drawn up on the lines of that of the Faculty of self and all the leading film-makers have studied Cameramen. " and/or taught there. Present progress at the Insti- VGIK and other national film schools are group- tute was recently reported on by the Rector, Mr. ed together in C.L. E. C. T. (called so from its Alexander Groshev, and Mr. V. Zdan, in an article French initials- the International Liaison Centre in the Bulletin of C. I. L. E, C. T. from which these for Cinema and Television Schools).The current extracts are taken: member organizations of C. I. L. E. C. T. are given "In 1999 the Institute of Cinematography cele- in Annex G. brated its fiftieth anniversary.During the years it has existed, the Institute has trained and educa- ted three generations of Soviet film-makers (4, 500 ARCHIVES AND LIBRARIES people), as well as 200 foreign film-makers.The Soviet government has rewarded the Institute's acti- The distribution of films for theatrical use is, as vities with high honours, conferring on it the Order we have learnt, usually handled by specialized rent- of the Red Flag. " ing organizations belonging to the trade associations Of graduation and diplomas, the authors write: referred to above.But the patterns of non-theatri- "293 students graduated in 1969-1970, 92 of whom cal film distribution are extremely varied.An es- had studied by correspondence.The distribution sential type of institution is the film library.These was as follows: libraries may be primarily lending ones or they Faculty of Directors: may be another type of institution with a lending 49 people, of whom 28 were directors of artistic section but whose essential function is the collection films and preservation of films. Faculty of Cameramen: Films have been described as the "audio-visual 42 people, including 24 who studied by corres- archive of our times". For many years, this essen- pondence tial aspect of the cinema was grossly neglected by Faculty of Acting: those concerned and in consequence a considerable 21 people stock of precious films and filmed records was lost Faculty of Script-Writing: to posterity for ever.Nowadays however there is 33 people, including 18 correspondence students general recognition that all countries have a respon- Faculty of the History and Theory of Cinema: sibility to preserve films as part of their history 36 people (15 corresponded)" and cultural heritage, to catalogue them properly, and to make them reasonably accessible for study, "In 1970, enrolment at the Institute'", the auth- research and creative enrichment.Preserving ors tellus, "for the first year took place according cinema film is more difficult than preserving paper to the regulations for admission by competitive and print and calls for highly specialized institutions examinations. Three hundred people, including 25 known as film archives, usually operating on a

23 national scale.These national bodies throughout never used. The materials may consist of in- the norld are grouped in the International Federation dividual shots of good quality and length, orex- of Film Archives (FIAF).The President of FIAF tensive parts of complete films 'cannabilized. has provided a note on Film Archives which we give nr later re-use. " as Annex H.In it, he describes the functions of film archives and distinguishes between six types: The 1,, ovision of such materials is now acknowledged (1) those functioning as fully independent andspe- to be ; :essential part of film operations, andone cialized institutions, either state bodies or publicly whose .t.aportance is 1.-apidly increasing because of subsidized (the main category); (:;) those being part the vast, scale on whic1, television programmers in of a film institute; (3) those linked to a film school; all parts of the world have recourse to illustrative (4) those forming part of a book library; (5) those inaertiotm. How a film production library service forming part of a museum; (6) those ;;unded by a is organi7td will depend on the way national film film society.His concluding words are worth re- activities.re structured but no country can afford peating here: "The importance of a film archive to neglect this channel for the exploitation of its cannot be underrated.The moving picture (in film res .trees vfilm. and television) is the most important development of communication in modern times.Future historians will compare it to the invention of printing. NON HEATRICAL DISTRIBUTION The film archive is its library.Today, any country without at least one well-equipped film archive is The non-theatry<:al distribution generally of films culturally underdeveloped. " within moat countries is usually carried out by Besides preservation, there are two other func- specialized film. lending libraries, especially for tions national film archives can perform. The first the category knoin as "factual films".They may is to arrange with the necessary permission,tc be run by individa I of :rational bodiesor individual make copies of certain of the films they hold forex- manufacturing benistries or even firms or as part ternal loan to educational groups and film societies. of overall nation, institutions.In Annex J we re- Many archives perform this service andrun lending produce an authc. itative account of howone well- library sections. known non- theat: calfilm library ofitstype The other function is to sell, on suitable terms operates. and again under arrangements with the copyright Non - theatricalilm libraries can play an im- ow lers, shots and sequences from the films they portant part in the ernational exchange of educa- hold.Many archives do not undertake this service tional and cultural films.This brings 98 to the for reasons which have been statedas follows : arrangements IS cou-try can establish ice distribc- "Generally speaking, they do notown the copyrights ting its films to other countries. As regardsnon- in the films they preserve which they usuallyhold theatrical distribution abroad, this is most often on deposit from the owners.These owners are very done by the deposit, temporary or permanent, of frequently the commercial film companieson whose copies, usually single ones, of films with certain goodwill and co-operation many national archives of the country's diplomatic missions abroad.While depend and who are themselves able to supplyfoot- thisis useful and indeed nrobably essential,it age on normal business terms. What the archives should notbe overlooked that the distribution can provide is a service of information and research achieved in this way in any one country is bound to whereby the potential user can be helped to identify be very small and therefore dear in cost-effective.- the sources of the stock material he wants andbe ness terms. Where it is possible in addition to have guided as to how he can secure it. "(1) a particular film put into distribution by the foreign The function of providing insertion footageis country's national film-lending library, the distri- usually undertaken by special libraries nowadays bution achieved can be very much greater, especial- known as "Film Production Libraries", whichcan ly to schools. Up to 3,000 copies ofa film may in be run by newsreel organizations, feature and other this latter way be printed and distributed by the film companies or, increasingly, television net- national agency to educational institutions. works.The shots and sequences provided by these Organizations for the sales and promotion bodies are usually called stock material defined in abroad of films are a useful- and some would say an IFTC document as; essential these days - part of film operationson any significant scale. "All those filmed materials divorced from their There are other operations for which, itone original use and gathered together ina film pro- or two countries, specialized institutions have been duction library and broken down for possible set up but which for reasons of space cannot be inclusion in later complete productions.These materials may be extracted from newsreelsor 1. World Directory of Stock Shot and Film Produc- the footage of a completed film or from theun- tion Libraries, compiled by the Royal Film used footage (up to twenty times greaterin Archive of Belgium with the co-operation of the quantity than the footage used) whichmay have BelgianNational Commission for Unesco.Per- been shot originally for thesame film, but gamon Press, 1969, p. VI.

24 dealt with here.But two aspects of the subject The Society introduced to the country the Russian must certainly be referred to further before we screenclassicsandGrierson's documentary conclude this survey of institutions basedon parti- Drifters-nos first shown by the Society along with cular stages or functions. Eisenstein's Battleship Potemkin.The movement The use of films - educational, social, critical, spread to Scotland (where in 1929 the Edinburgh appreciative etc.- is one of these.The other con- Film Guild, still functioning, was formed) andto cerns their proper documentation.Before films other countries. can be used, their existence must be known to users. Today, hundreds of these societies exist through. Both of these aspects raise wider issue;. out the world and have their own international body, the International Federation of Film Societies (See FRAM CATALOGUING Annex K). Many of them have now been "institutionalized" in the sense of being officially recognized and The cataloguing of films isnow seen as part of the subsidized. The evolution of film structures and the essential function of properly indexing anddocu- coming of television and other factors have modi- menting all the intellectual resources of thecom- fied their rOle.But, at their best,they still munity, and it is just as important to do thisfor represent an essential force compounded of dis- films and other "non-book" materialsas it is for interested and independent enthusiasms and passions books and printed matter.This attitude is a very for the cinema.Their pioneer efforts have over recent one although film catalogues ofa sort have the years made possible in different countries the existed almost since the invention ofcinemato- establishment of other "cinematographic institu- graphy. The point about this type of operationcan tions" - film institutes, film archives, film reviews, be briefly put.It has been formulated by the Inter- specialized cinema circdits and so on. national Film and Television Council.This main- One offshoot in part of the film society move- tains that, alongside such sectional andpc -1 (al lists ment has been the growth of another type of insti- as may be necessary, all countries should have tution for disseminating film culture- a special centralized national catalogues, coveringall their quality type of cinema - the repertory cinemasor films and documenting them in a classifiedand sys- art houses, as they are now usually called. tematic way according to modernbibliographical This type of specialized cinema has existed for and information processing methods.This is a type fiftyyears or more but it is only recently that their of institution which can be created quiteeconomical- number has grown in a spectacular fashion and in ly as experience in various countrieshas shown. some countries they have become institutionalized. This has happened for example in France where CULTURAL FILM mnIBITION "cinemas d'art et d'essai" have a status recognized by the Centre national de la cinematographic. (CNC). The arrangements controlled by the CNC for con- The use of films takes us into the largercontexts cessionary treatment of the "Cinemas d'art et of both formal and out-of-school or permanent education and of the social aspects of art and com- d'essai" cover commercial cinemas whose yearly programming fulfils four criteria:to include (1) munication in general.In these contexts, the pur- high quality films not reaching the audiences they posive use of films is often the concern of overall deserve; (2) films showing a creative, experimen- institutions, as the present Survey has indicated, tal and research approach; (3) films from countries or of broader educational and social institutions for whore cinema production is insufficiently known in whom it is one of a number of means in which they France; (4) quality shorts. (The CNC has a special are interested. But there is one type of organization mission to encourage such films).Programmes traditionally associated with the cinema which is of may also include 50% of reissues of screen clas- great interest and significance - film societies. sics, 25% of new films which both critics and film- The idea of the film society- or tine -club in goers have liked and which notably contribute to French - was launched in Paris in January 1920in film art, and 10% of outstanding amateur films. a manifesto announcing a new weekly jou rnal devoted to the ides and written by Louis Delluc, the film- These proportions may vary according to the size maker who was also a leading critic. and population of the town, city or community in The new which the cinema is situated.The status of "cine- magazine would, he said, "help relations between ma d'art et d'essai" is conferred on the recommen- the public and "cinematographists", encourage en- dation of a special commission.In January 1971, thusiasm and efforts of all young people andarrange 328 such cinemas were recognized, of which 66 all torts of events to further the French cinema. " were in Paris. Film societies were created by him, by Moussinac For fuller details of this development, refer- and by the most celebrated early theoreticianof ence should be made to the monograph on the sub- film art, Canudo, and others in France. Themove- ject by Paul Leglise from which an extract is given ment spread to England with the formation of the in Annex L. London Filni Society in 1925 "to showa group of An important landmark in the growth of art films which are in a degree interesting and which houses was the creation in 1960 of an international represent the work that has been done, or is being organization grouping them - CICAE (International done, experimentally in various parts of the world". Confederation of Art and Experimental Cinemas).

25 OVERALL INSTITUTIONS

The foregoing pages have given some idea of the television. A profile in relative depth of the Films manifold functions which cinematographic insti- Division there offers then a useful departure point tutions may be called upon to perform. To what for a discussion of overall cinematographic::: extent can some - or indeed all - of these functions Eitutions. be usefully and justifiably centralized within one The Films Divisior is one of the "Mass Media overall national organizat ion? Light may be thrown Uoits" of the Ministry of Information and Broad- on this by the exploration in greater depth in this casting.It is "the central film producing organi- chapter of a number of more general cinemato- zation responsible for the production and distribu- graphic institutions. tion of newsreels, documentaries and other films required by the Government of India for public information,education and for instructional and THE FILMS DIVISION OF THE MINISTRY OF cultural purposes." Though it works within a govern- INFORMATION AND BROADCASTING OF INDIA ment department. it seems to enjoy a considerable degree of autonomy and be a well-defined entity. . It seemed interesting to begin with this well-estab- Started in 1948 soon after Independence, the Films lished institution of good standing which presents a Department is in the words of Jag Mohan. "a natio- number of features of exceptions! interest. Though nal agency that over the years has evolved into a India is in toe general econonVc ond social sense a national institution."( I) developing country, its film int'Astry, particularly A good idea of the general set -up at the Division on the feature side, hi:4 for long been a highly de- may be gained from the "organigrammeg we repro- veloped one and nowadays India ranks as the third duce on page 28 (Figure II). largest film producing country in the world. There As may be seen, the chief executive of the is nopublic sector in the feature film industrY. The Division is the Controller. Up to 1968, this post Films Division or F.D. of the Ministry of Informa- was filled fromthe ranks of the Indian Administra- tion deals almost entirely with short films and con- tive Service. But in that year, a significant pre- stitutes indeed the public sector in the short film cedent seems to have been established by the up- industry.There is also II private sector of this grading of the senior film professional, the Chief latter made up of about a aundred Independent Producer. Sri K. L. Khandpur.to the post of Producers. Besides making films for other bodies. Controller. these Independent Producers contribute to the out- The next point to notice is that the Division is put of the Films Division.Indeed, as many as a primarily a film product ion agency which is not true quarter of the subjects onthe annual production list of all the other overall institution discussed blow. of films can be reserved for these Independent Pro- The column headed PRODUCTION WING on Figure ducers to make. But the great bulk of the Division's II brings out the organizational lay out of this acti- output of close on 200 films a year is produced by vity.Besides the Chief Producer and pis Deputy the Films Division itself. who function at the Films Division's main head- India shares with other developing countries in quarters in Bombay. there is an Additional Chief Asia and Africa problems of the advancement through Producer not shown on the chart but in charge of audio-visual education and information of rural communities spread over large distances.It is 1. Two Decades of the Films Division, published to be the setting of a pioneer experiment in the use in 1969.by the Films Division in Bombay. We to this end of a space satellite for television broad- are indebted to Mr. Mohan's excellent study for cast ing and here cinematography will presumably play the chart at Fig. II and many of the data we an important part as in other forms of educational qucte, which relate therefore to 1968-1969.

27 FIGURE II THE FILMS DIVISION SET-UP

CONTROLLER

PRODUCTION WING ADMINISTRATION WING DISTRIBUTION WING

1 Chief Producer Administrative Officer Officer-in-Charge Deputy Chief Producer Distribution i i 1

Camera IPublic Relations 'Producer Newsreel Booking, Sales andAssessment Editing Personnel Documentaries Management Producer Documentaries 6 or 7 Directors I

Editing Accounts. Budget Revenue Accounts Newsreels Internal Audit & Contracts and Costing Legal Affairs Producer Documentaries 6 or 7 Directors II Recording, Maintenance and Projection Producer Documentaries 6 or 7 Directors III

Music Production BRANCH OFFICES Administration Producer Documentaries Bombay 6 or 7 Directors IV Calcutta Lucknow Nagpur Commentaries Stores Madras and Rawstock HScripts,and Research Secunderabad 'Cartoon FilmUnit Laboratory Supervision General 15 Newsreel Officers NEW DELHI UNITS at Ahmedabad, Bangalore --1Film Library Bhopal, Bombay, Calcutta, Defence Films wing Chandigarh, Hyderabad, Unit for Films on Food, _IProduction Management (Studio, Art-Direction, Agriculture and Family Lucknow, Madras and Lighting, Make-up, Costumes, Painting, New Delhi Planning Carpentry, Moulding, Transports, Gardens). Films Division Auditorium

28 activities at New Delhi and the units, listed in the and editing table with synchronometer, and in two final column of Figure II. halls.Each year. the Editing Department copes Under the Chief and Deputy Chief operate a with 60 newsreel issues and about 100 documentaries number of Producers, each responsible for parti- in 14 language versions.A unit attached to the cular groups or types of films. Each is in overall Documentary Section looks after the matching of charge of some 20 productions a year from script language commentaries. The responsibilities of to final versions. Under each Producer serve six the Editing Department extend from receipt of rushes or seven Directors, whom Mr. Mohan describes up to the sound recording process and cover also as the core of creative personnel.His comments the provision of titles. on the responsibilities of the Chief and Deputy Recording, including dubbing in the 14 languages, Chief and the other Producers are worth quoting is done by the Sound Recording Department under in full: the Chief Sound Engineer. The Department also "They have not only to handle so expressive a records the other language versions of the outside medium as the film, but also Directors, who productions from independents and outside agencies have personalities and styles in film craft. which it receives in a basic version,usually They have to do tight -rope walking between the English. When one remembers that the work load creative staff, represented by Directors, and covers the same quantity of film as that handled by Authority, whether it be the Ministries, the the Editing Department, the staff complement of Consultants, the Film Advisory Board, the six recordists and seven assistants must be more Censor Boa..d or the public represented through than fully stretched.This seems to be true also the Parliament. They have to be loyal to the of the equipment which includes four 35 mm optical medium of the film, since most of them have been recording units, three 16mm optical recording Directors earlier in their careers. They also units, eight professional magnetic recording units know that 'films are made by individuals, not and four re-recording units. committees'. But they also have to remember According to Mr. Mohan, the Department is that they are handling public funds, they have gradually switching over to the use of magnetic film to put out predominantly utilitarian films, they in a phased programme, with considerable saving are answerable to the higher-ups, and that the of raw stock but involving investment in special release schedules must be met somehow."(1) equipment for recording and editing:(2) The Sound Recording Department is also Two of the Producers have special tasks - tile responsible for projection facilities and for main- Producer in charge of Newsreel Operations whose tenance. With a staff of 18, the Projection Section work we discuss later, and the Producer in charge of the Department runs two preview theatres and of "Outside Productions", i. e. the films already two re-recording theatres at the main studios in mentioned which are made not bythe Films Depart- Peddar Road, Bombay, projection installations ment itself but by Independent Producers figuring at Tarabhai Hall in that city and the Films Depart- on an approved panel. This Producer is responsible ment Auditorium in New Delhi. for tenders and their fulfilment and for financial The Maintenance Section keeps in running order and working relations with the private sector of and good repair all the equipment - optical, elec- the short film industry. tronic, electrical and mechanical - in use by the Before passing to the categories of films made Films Division. by the Films Department, something must be said Moving down the entries on the right hand side of the equipment and the various processes of pro- of column I of Figure II, we come to the Music duction. They are, withthe exception of animation, Department. This has a modest staff complement covered by the entries on the right-hand side of of 10 musicians under the Director of Music and the column PRODUCTION WING in Figure II. his two assistants, though the services of outside The Camera Department is based in Bombay musicians - directors, singers, instrumentalists - but most cf its equipment in camera and lenses is are also frequently drawn on.It is interesting to generally in use on outside location and for news- learn that the attempt is being made to compose reel c overage. The bulk of the cameras are 35 mm. imaginatively to visuals and provide new creative With regard to camera personnel, the Documen- patterns of sound and music. The Director of tary Section has 14 cameramen and 20 assistants Music has collected from past sound tracks an in- workingunder the Chief Cameraman. Fifteen news- dexed and catalogued reference library of recorded reel officers work for the newsreel section of the sounds. Camera Department in the ten regional centres The Departments described on the chart as given in column I of Figure II. "Scripts and Commentaries" have some unusual A team of 25 editors, 25 assistant editors and features. There are, one learns, only two script- 30 joiners under two Chief Editors handles the work writers on the staff of the Script Department. This of the Editing Department. The Department has, as is in part because directors have traditionally Figure II indicates,two sections - for documentaries and newsreels.They work in 13 editing 1. Two Decades of the Films Division p, 15. rooms, each equipped with a moviola, a soundola 2. Ibid. , pp. 53-54.

29 preferred to use scripts prepared by themselves and Tuesday. The Editing and Sound Departments adapted during shooting. In addition, the Depart- synchronize their schedules. The Newsreel ment frequently uses guest writers. editors work the whole night every Tuesday The Commentary Department is an interesting under the supervision of or according toin- phenomenon because of the diversity of language structions of their Chief Editor. By 9.30a.m. versions turned out. The commentaries of the basic on Wednesday, the married print is ready for versions are written in English. Thereafter specia- the Film Advisory Board. This statutory body, lists in 13 other languages compose the commenta- w' ch has to approve films for mandatory ries for the versions in these languages -A ssamese, public exhibition in the cinemas of the country, Bengali, Gujarati,Hindi,Kannada, Kashmiri, is so constituted that officers of the Film Cen- Malayalam, Marathi, Oriya, Punjabi, Tamil, Telugu, sor Board have to be also present. The news- Urdu.In these languages, more words are often reels get the approval of the F. A.B. and the needed than in English to say the same thing.The Censors at the same time. Then the prints are commentary writers must display considerable in- struck. By Thursday morning the prints for genuity and multilingual mastery, as well as skill distribution to the first-run theatres in all in the mechanics of fitting recorded speech to edited parts of the country are ready. By evening visuals.Conversely, those writing the English they are dispatched, ..."(1) commentaries have to allow for this in the relative density of their versions. The label "Documentaries" on Figure II covers not The Films Division does not have its own print- only films usually classified in this way but others ing laboratories but uses outside commercialones. of a more specialized character. They include, for This explains why, on Fig. I, the Department con- example, films for classroom teaching as audio- cerned with laboratory processing and printing is visual aids. These films have been mainly on the described as "Laboratory Supervision". This De- regional and physical geography of India, but have partment is obviously closely linked to the Library included more recently some natural history and Co films and of stock shot materials. biology subjects. Other films have been of amore The last Department on the Production Wing- general adult educational character for publicen- Mana ement - performs the functions indicated on lightenment - on such topics as the Metric System, FigurII.It does a range of other chores, includ- economic problems and civics.Instructional films ing for example fixing up police and other permits on farming for rural audiences, and training films and facilities. for the Armed Services, have been and are being The machinerydescribed above is used to pro- produced by the Films Division. Other films of a duce two broad categories of films- newsfilms and motivational character have used film techniques what are called on Figure II "documentaries". to reinforce family planning and other campaigns. The weekly newsfilm called "Indian News Re- Another important category is that of films about view" is a news magazine rather than a newsreel both the plastic and the performing arts in India. of the older type. carrying "hot" news, and presents Yet other Films Division films have been produced a continuing picture of national events, trends and for trade and tourist promotion. Two further kinds developments. The footage for the Review is pro- of films are contributing to the history of the vided largely by the cameras and tape-recorders nation and its relations on film. These are the bio- of the 15 newsreel men in the 10 regional centres graphical documentaries telling the life stories of referred to on the Chart, and sent in by air to the India's great men, and the record films numbering Newsreel Department's headquarters in Bombay. over a hundred which chronicle the visits of foreign What happens nex: has been described by Mr. Mohan statesmen to India or their Indian counterparts in the following succinct and lively terms: abroad. Almost all the above films have been shorts "Every week by Saturday or at the latest by of from 10 to 30 minutes in length. A few feature- Monday, the selection of the items for the next length documentaries were provided at an earlier issue of the I. N.R. is made. Like the news- period and some were released theatrically.One editor, the Producer gives importance to cer- or two fiction films of feature length - on such tain items, decides the length and keeps some topics as community development and the caste items pending. He has to be fully convei sant system - have been made by the Films Division with 'the chemistry of news'. On the bash of for rural audiences accustomed to longer movies the dope sheets sent by the cameramen and the with a story line.The activities grouped under research material provided by the Research DISTRIBUTION WING on Figure II make of it one Department, the English commentary-writer of the largest distribution organizations for short starts his work onthe draft commentary. Timed films in the world. and checked, it is readied by Monday evening. This Wing has certain distinctive features But there is always provision for the inclusion which Figure I does not bring out. According to of any item, sensational or dramatic, up tothe Mr. Mohan, (2) the Films Division supplies prints last minute. As soon as the English commentary is okayed, the language commentaries are 1. Two Decades of the Films Division,pp. 36-37. prepared. The commentaries are recorded on 2. Ibid. ,p. 65.

30 of a documentary and a newsreel each week for cir- Despite such criticisms, Mr. Mohan feels that culation in close on 7,000 cinemas in India and this the system has justified itself. He recalls that increases by about 400 new static and mobile cine- more recentlythere has been a greater understand - mas brought into use each year. About 300 prints ing of the problems of Independent Producers and of each newsreel and each documentary go for the relations between them and the Films Division first and second weeks to first-run theatres, and have improved.Better rates and facilities have later-run halls over a period of up to nine months been negotiated and unsponsored, independently until this batch of prints is withdrawn. The cinemas produced films have been bought by the Films pays the Films Division for the hire of these films Division. on a contractual basis; rentals vary with the size The middle column of Figure II- ADMINIS- of the cinemas from Rs. 2.50 to Rs. 400 a week, TRATION WING - is pretty self-explanatory. The working out at about 1% of net revenue after deduc- Administrative Officer working directly under the tion of entertainment and other taxes. Controller is responsible for personnel manage- The annual output of over thirty thousand prints ment with a staff of some hundreds, for welfare in 35 mm and 16 mm include not only the copies for and security and for the other tasks indicated on theatres but also prints supplied free of charge for the Chart. Most important, he is responsible for use on the mobile units of the Central and State budgeting and accounts and finance generally. The Governments, those selected by Indian diplomatic annual expenditure of the Films Division had risen and trade missions abroad for their territories, by 1968 to just under 16,000,000 Rs, to be offset those distributed for foreign television and theatri- by receipts of some 10,000,000 Rs. cal hiring outlets, and films supplied for prestige The above profile traces the main features of and publicity to international festivals and other the Films Division's operations. But this is not of occasions. Prints are sold abroad by a commercial course the whole story. The Division has touched distributer. Indian life at a number of points, and has influenced The income from these sources and from the the country's other cinematographic institutions. sale of stock shots is appreciable and, as we shall This is true for example of the Film Institute see, amounts to nearly two-thirds of total expen- of India, the leading establishment for teaching diture. the art and technique of the cinema, for which the Much of the revenue derives from the system Ministry of Information and Broadcasting is res- of distribution mentioned above under which every ponsible.The Central Government set up this cinema in India in order to have a licence is obliged film training school in 1961 and bought for the ven- not only to screen but also to pay for an "approved' ture the extensive but long idle studios of Prabhat short film and a newsreel at every show. These on the outskirts of Poona. The plars for the school are drawn from a list of such films drawn up by a had however been drawn up over the two previous selection body, the Film Advisory Board. years by a member of the Films Division's staff, This distribution system has been strongly and Mr. Khandpur, the present Controller of the Divi- often bitterly attacked in the past by film-makers sion who in that capacity serves on the Institute's and others in India because it savours of monopoly Advisory Committee. Staff members of the Films control. This point of view was put in 1963 by the Division lecture and examine at the Institute while two leading historians of the Indian cinema, Erik former students have directed films for the Films Barnouw and S. Krishnaswamy, in these words: Division. A not dissimilar intimacy of relationship has "It is understandable that the central govern- existed between the Films Division and the Child- ment moved into this field on a massive scale. ren's Film Society. The Division has contributed To serve pressing communication needs of a staff and expertise to this semi-independent body new nation, no other available medium offered set up in 1955 with government funds to produce comparable values.And the private film in- and distribute children's films. dustry,in spite of early interest in topicals, The Division naturally stimulates interest in had never developed a strong documentary film movie generally and has had, for example, its own sector. Yet it is a pity that government moved study group affiliated to the Indian Federation of into this field in a way that almost prevented Film Societies, with which it co-operates. The such a sector from developing. Although mono- Controller and Chief Producer are ex officio con- poly was not the stated intention, monopoly was nected with the National Film Archive of India. the almost certain result of policies adopted, With respect to the commercial feature sector particularly the block-booking contract forced of the film industry, the Films Division is repre- on theatres."(1) sented on the Indian Motion Picture Export Corpo- These authors also criticized the custom of chang- ration.The Controller of Films Division is a ing the short each week and suggested that an ex- shareholder in the Film Finance Corporation Ltd., ceptional documentary film might be booked into first-run theatres with a popular feature film and 1. Indian Film, Columbia University Press, 1963, stay with it throughout its run. p. 271.

31 set up by the Government in 1960 for the purpose As is well known, the 1939 Act was drafted of rendering assistance to film producers by way in 1938 at the request of the Government not by a of loans. Canadian but by a Scotsman, John Grierson, the The Films Division has been compared with pioneer of the British documentary film movement, the Crown Film Unit in Britain.Apart from its who became the first Government Film Commis- historical interest, the parallel is however not a sioner and shaped the Board's structure and acti- close one for the Crown Film Unit ceased to exist vities in the formative years of World War II and in 1952. Even previously, it had become since the immediately after. As it developed during this War part of the Films (now Films and Television) time, the NFB displayed a number of features of Division of the United Kingdom Central Office of considerable interest. Thus the Board was res- Information (C. 0.1. ). The C. 0.1. differs from its ponsible not only for producing its own films but Indian counterpart in that it is a common service also for printing and processing them in its own department of non-ministerial status. Nevertheless laboratory, though it also called on technical ser- the C. O. I. Films and Television Division is an in- vices available from private industry. The Board teresting example of a considerable loncentration established its own distribution service with, on and deployment of professional expertise in its the exhibition side, its own non-theatrical system field, notably in respect of the difficult process of and on the theatrical exhibition side effective reconciling the sometimes contradictory impulses working co-operation with the private entertain- and outlooks of the sponsors who pay for films and ment industry. Of special interest nowadays when the creators who make them. This system of pro- the multi-media approach to communication is duction control is described in Annex M. much favoured is the fact that, by the end of the War, the Board had become what may be described as an audio-visual service,producing not only THE NATIONAL, FILM BOARD OF films but other types of materials. Most important CANADA (NFB) the Board had also by then become, through the Commissioner, the source of advice to the Canadian The NFB of Canada is much more comparable Government on all matters pertaining to the film to the Indian organization. The Board has indeed industry, and occupied for practical purposes the served as the prototype for overall bodies in several key position in this branch of national life and countries.It remains the most prestigious of this culture. type of institution. This is due perhaps to the ex- The main characteristics remain more than tent to which it has shown how the nurture of thirty years after the enabling legislation bringing individual creative talents can be fostered within a it into being was passed. The opening paragraph framework of sound public administration.It has of the Board's 1969-1970 Annual Report sums been described as "a body within the framework of up how that Board sees itself across the years government but free from the routine inhibitions between: of civil administration''. To appreciate the significance of the NFB one "The Act, today, still stands as a model for must go back some 33 years to the situation in other countries that have studied ways to emu- Canada when the Board was set up bythe passing of late Canada's achievement in the use of film the National Film Act in May, 1939. At that time, in the public service. In its 31 years of exis- Canada was, as today, a developed country in res- tence, the Board has made good use of its pect of its industries and economy generally, but unique mandate to produce and distribute a as regards the film as a means of national expres- body of work of high quality, rich in content sion Canada could only be described as under- and employing a wide range of techniques, a developed. There was no film production industry body of work committed to 'interpret Canada in Canada apart from small independent units in to Canadians and other nations' with a steadily Montreal, Ottawa and Vancouver, and film activi- increasing skill and imagination, which con- ties were confined mainly to distribution and exhi- tinues to make a notable contribution to the bition, under strong United States influence. There Canadian identity." were about a score of organizations concerned in The Report describes the three main branches of a small way with film activities and, at the Central the NFB's activities - Production, Technical and Government level, the Canadian Government Mo- Production Services, and Distribution. But before tion Picture Bureau (mainly concerned with tourist this, there is a short chapter on the Ottawa films), which was absorbed by the NFB in 1941. Services Branch, set up in 1969 to consolidate the The time was ripe for change and the National Film Board's operations where HI., legal headquarters Act in 1939 set this in train by making the Board it are situated. This branch consists of a Liaison created responsible for the co-ordination and direc- Division (to provide a link in the capital with tion of all Government film activities. (1) This Act remained in force until well into the post-war period, to be superseded only in 1950 by a new 1. Cf. The Factual Film, Oxford UniversityPress, Act which reaffirmed the general character of the 1947, pp. 232-233. institution.(2) 2. Reproduced in our Annex N.

si. government departments and agencies, a Still Photo Nineteen films of the series, some using such tech- Division, and the Canadian Government Photo Centre, niques as VTR (video-tape-recording), were made The Still Photo Division runs a Photo Library Ser- in the year 1969-1970 ranging from under five mi- vicewith 400 , 000 black-and-white and colour pictures nutes to over an hour in length. of Canadian life. The Canadian Government Photo Other categories of films produced, apart from Centre, established in 1965, provides still photo- a group sponsored by Canadian Government depart- graphic printing and processing services to federal ments, were television and non-theatrical films, government departments and agencies. In addition, theatrical (or what the Report calls "large-screen") the Ottawa Branch deals with such legal points as films, youth films, and various sorts of innovation copyright conventions and has played a leading part especially of the kind associated with the work of in plans for an audio-visual centre in the capital to the veteran artist-cineaste, Norman McLaren. Of meet the needs of government in the use of audio- special interest waF the production programme of visual techniques and hardware and software. The "multi-media" - filmstrips, slide sets, film loops, Branch provides space and various services for the and other miscellaneous audio-visual items. Canadian Center for Films on Art. The French Branch covers similar ground but The Report divides production activities, prin- the Report brings out a recent development of signi- cipally centred on the Monti eal studios and plant, ficance we come back to later - the production of into two chapters - those of the English Branch and feature films and feature-length documentaries. of the French Branch. The emphasis varies in each Another category of interest here was that of low- of them, though both refer to the limiting effects of budget "first films". "The discovery and training" the Government's austerity measures. says the Report "of new talent (inside and outside The English Branch reports progress on a the Board) were given high priority in the activities production venture common to both branches and of the Branch". worth dwelling on briefly because it illustrates the The NFB's Production Summary for 1970-1971 imaginative way the NFB often approaches its work. is reproduced in our Annex 0. this is the Challenge for Change/Societe nouvelle The functions of the Technical and Production 'programme begun three years previously. Describ- Services Branch are notably processing, negative ing it as a revolutionary development whereby com- cutting, sound recording, optical and title shooting, munities will learn to use film and tape to analyse equipment maintenance, inspection and projection. their problems, Dr. Hugo McPherson, the Govern- It has as active research and development compo- ment Film Commissioner during 1969-1970, has nent keeping abreast of new systems employing written elsewhere: films, video-tapes, laser beams, co-axialcables, "Film -makers, community development workers microwave, etc. ,as well as the trend for large and citizens work together to record a parti- movie houses to be replaced by nests of vari-sized cular social problem.All are involved in mini theatres. (See the Technical Operations Sum- choosing the material to be shot, and in sharing mary in Annex 0. ) the editing process. Community and govern- The Distribution Summary (given also in ment officials make their contribution to the Annex 0) brings out the considerable scale and dialogue, and eventually the study is complete. diversity of the Board's operations in this field. All sides have seen each other, andnew pos- The financial dimensions of the activities of sibilities for social action have been opened. the NFB of Canada with its annual output of 600 This new film technique first implemented by productions of different sorts, are indicated by the Colin Low promises great things.United various data in the Board's latest published State- Nations officials think that it is exportable ment of Income and Expense given in Annex 0. to developing countries, "(1) The place of the Film Board in the national scene in Canada would seem to be secure.Its The Challenge for Change/Societe nouvelle films influence has been felt in almost all the fields of are financed as to 50% by the Board and as to 50% activity discussed in the present Survey, including by equal contributions from the federal departments collaboration with the Canadian Film Institute, for Labour, Regional Economic Expansion, National initiatives towards stimulating and consolidating Health and Welfare, Secretary of State (Citizenship) the teaching film, the film on art, science films, and Central Mortgage. children's films, film societies, "cinematheques" The NFB Annual Report comments: etc.It has pioneered new forms of community film "Exercising its mandate to give the voiceless distribution through its local officers in some 30 in Canada the ability to communicate with their Canadian towns. A great many trainees from other governments and the establishment generally, countries have worked at the Board at one time or Challenge for Change/Societe nouvelle has pro- another. duced a series of films that may wellbe unique A factor influencing the role of the NFB has of in the history of government-assisted film- making, in that they upenly and purposefully 1. The Future of the Moving Image in"Artscanada", criticize the agencies that support them." April 1970, p. 2.

33 course been the arrival of television on a large towards inflation. While accepting that the CFDC scale. The effects of this are described byAndre has proved a very effective way of Paquet: "... the NFB was constantly called promoting a upon private Canadian feature film industry, hegoes on to feed the ever-hungry monster its images.And to say: so light cameras, synchronized sound and minimum crews helped bring about the "candid eye" and "But if we consider cinema mainlyas a means quickly established the types of cinema beingdone of expression, the CFDC could not be adequate. at the NFB at that time (1957-1963)as the avant- It would be naive to believe thata country such garde of documentary film production.Constant as Canada could consider creating a competi- contact with reality, a profound need toexpress it tive national film industry, particularly ata and to comment on that reality, weresoon to time when 15. la Hollywood' filmsare slowly become a need to express it more deeply and with but surely disappearingor at least going greater involvement." Much has changed since then: through a radical change." the present position is summarized by Paquet: The impact of television and the fostering ofan in- "The Canadian Broadcasting Corporationalso digenous feature industry are factors whichhave produces films for its own needs.It does strongly marked solutions in the nextcountry we quite often give contracts to the NFB andocca- turn to - Sweden. sionally, although seldom, to private industry. The two overall institutions dealt withso far In Toronto and in Vancouver, film production have been largely concerned with short films. at the CBC is as active as it is badly equipped. Another type of institution, usually called film in- (The CBC often rents its equipment from pri- stitutes which enjoy some measure ofstate subsidy, vate industry and it already has its lab work approach the cinema primarily asan art form done by private industry.) In Toronto, the manifesting itself in various kinds of film,long and CBC produces film in 'industrial' quantities short, but predominantly in its majorembodiment ranging from the short 30-second mini-film so far:in cinema history - the full-length fictional to the longer news documentaries rightup td feature film.We consider two examples of this feature-length films. However, where itsown category - the Swedish Film Institute and theone productions are concerned,. CBC filmsare with the longest continuous history,the British not distributed commercially, but are sold to Film Institute. foreign networks. So quantity-wise, the CBC actually produces more films inone year than the NFB puts out in two."(1) SVENSKA FILMINSTITUTET- THE SWEDISH FILM INSTITUTE Another factor has been the emergence ofan indi- genous feature film industry over the past ten Sweden is a country with a reputation for quality years. The need became more and more insistent for film-makers to express themselves not only feature films higher than most of its size, and directors like Ingmar Bergman have givenSweden through shorts but also through what is themajor a reputation for a distinctive national creative style art form of the cinema - the feature film, without of film-making.It was the economic menace from or more usually with, a fictional content. This ir- television to this high quality nationalform of resistable trend was felt in the NFB especiallythe expression that led to the establishmentof the French Branch. But in 1967, a new factor came Swedish Film Institute. into play when the Canadian Film DevelopmentCor- After World War II, the Swedish film industry poration (CFDC) was created with an initial budget was prosperous,with an average production of of $10, 000, 000. This agency, responsible likethe feature films stabilized at around 30 films NFB to the Secretary of State but quite a year, separate, in spite of a swingingly high rate ofentertainment is called upon to promote the Canadian filmindus- tax on box-office receipts- 39%. This was intime try and it has in the past three years invested inor abated somewhat. aided the financing of a number of films. But in 1956, television was introduced into Such developments are reflected in the present Sweden and its effects were increasingly felt. greatly enlarged volume of independent feature film Tax was further abated and indeed by 1963, through production. Thus in 1969, annual production was 33 various measures such as refunds of tax andqua- films, of which 10 were produced by the NFB, 22 lity awards, Swedish films were in facttax free by private industry, and one by the CanadianBroad- or even subsidized. Nevertheless, production had casting Company. Nineteen of the 33 were French by then slumped to 12 featuresa year and there and 14 English and 21 were made in Montreal. was e real danger that continuous production could Production facilities seemed to have expanded and no longer be maintained. there are now said to be 60 productioncompanies How this position was seen by the authorities in Toronto, Montreal and Vancouver. with modern in 1963 has been well put in studios and a pool of professional experience. a study prepared in For Paquet, the steep increase in feature pro- 1. Paquet, A.: Qu'est-ce que le cinema canadien9 duction represents a certain dangerous leaning in "Artscanada", April, 1970, pp. 5-6.

34 f

1970 by the Swedish Ministry of Education and the Government. The present chairman is also the Cultural Affairs: Chief Executive. "A t this point the Swedish Government was fully A ssociated with the Board is an Administrative aware of the serious nature of the situation. It Council of 30 members chosen by the organizations tried to formulate definite objectives for the of the film industry,the film makers and other measures to be taken to reorganize the film organizations and institutions concerned with the industry. The primary goal was to guarantee activities of the Film Institute. The Administrative a continuous Swedish film production, thereby Council has advisory functions. . insuring the important contributions of Swedish It elects however a jury of 12 who are respon- films to Swedish culture.No economic sac- sible for adjudicating the quality awards. rifices whatever on the part of society were Production aid for the Swedish quality film, thought to be called for, unless the production financed with 30% of the income of the Film Insti- of artistically worth-while films could be tute,is administered by two funds of equal size. ensured. A lower tax burden was considered Both funds are governed by Boards, each of five entirely reasonable for economic reasons. The members. For one fund four of those five members poor financial state of the film industry was are chosen by the organizations of the film industry the result largely of the expansion of state and one by the creative film makers. For the other fund, four members are chosen bythe film makers controlled television. "(1) and one by the film industry. These funds also The solution arrived at was twofold: the Film Indus- receive certain grants from the Swedish Govern- try Agreement reached between the Government of ment. These grants amount to about £70, 000 for Sweden and the entire Swedish film industry - pro- 1972.It is however probable that grants from the ducers, distributors, and cinema owners - and put Government will considerably increase during the into effect on 1 July 1963; and simultaneously the next few years. agreement by Parliament to abolish all taxes on The Swedish Film Institute has by its own cinema box-office receipts. The A greement notably resourceswith about £5 million financed a very provided for financing the establishment of a new large building (of about 4,000,000 cubic feet capacity). foundation to be called Svenska Filminstitutet or The Film Institute disposes of about one-third of the Swedish Film Institute. this building for its own activities while the remain- The primary goal was to ensure a continuous ing two-thirds of the premises are leased to and continuing production of films together with several related government institutions, such as the the maintaining of artistically valid standards. By Department of Theatre and Film of the University the manner in whichthe money available was spent of Stockholm. A dance school for the education of it was hoped to avoid the kind of bureaucratization choreographers and dance pedagogues, a dance "which would be unfortunate for the development of museum and a large theatre library. The largest film art, and perhaps result in an unsuitable condi- of the tenant institutions is however a new dramatic tion of dependence."(2) institute into which the Film School, formerly run The disposal of the income of Svenska Film- by the Film Institute, has been integrated. institutet, in the order of £1.4 per year, has been Of this new training institution, the same source modified over the years by certain changes of the states that it has been set up "to meet the training original A greement between the Swedish Government requirements of other professional groups than and the Swedish film industry.The latest change stage artists who fulfil qualified functions in the in this Agreement goes into effect on 1 July 1972. theatre,cinema,television and radio.These 10% of the income is used for quality awards include both those mainly concerned with formative to Swedish feature films. functions (primarily directors and producers), and 5%isused for various public relations such technical and administrative specialists as activities (e. g. participation in international film participate in creative work, i.e. photographers, festivals, publication of magazines). sound technicians, stenographers and make-up staff, 30% of the incomeis used for a number of stage managers, etc. Training et the Institute may different activities of a non-commercial but cultu- in the future cover more occupational categories. rally s ignific ant character, such as film preserva- The Institute will be working in close co-operation tion, film education, film research, etc. with the various media, and help to promote their 15% is used for general production guarantees development". (3) to all Swedish feature film productions. Apparently, it is foreshadowed that eventually 10% of the income is used for films produced by .the Film Institute itself. About 70% of this amount 1. The State and Culture in Sweden, published by is reserved for the production of feature films and the Swedish Institute in co-operation with the the remaining 30% for the production of short films. Swedish National Commission for Unesco, 30% of the income is used for direct produc- Stockholm, 1970, p. 77. tion support to Swedish feature films. 2. From the official brochure of the Institute The Swedish Film Institute is governed by a published c. 064. Board of five members, all of them appointed by 3. Ibid. ,p. 76.

35 the existence of the Dramatic Institute will make it according to the study we have quoted. possible for the internal arrangements for training But the study underlines that problems remain, TV and radio producers by the Swedish Broadcast- particularly in respect of the distribution and ing Corporation to be wound up. exhibition of films. The study comments: The Swedish Film Institute has in its building two modern professional film studios, three screen- "The Filin Institute's possibilities of doing ing rooms, one mixing room, the department of anything in this field are at present limited. documentation,the film archive and its central It is against the background of the imperfectly administration. functioning distribution of quality films to the The Archive of the Swedish Film Institute has provinces that a desire has been expressed a budget of about 700, 000 Skr and holds more than for non-commercial cinemas supported by 2,000 feature films and more than 1,000 short films. the local authorities.Some such cinemas The largest part of the budget is reserved for the have already been created on an experimental preservation of all Swedish Films and their tran::- basis. "11) fer from nitrate to acetate base. In order to tackle problems which are not solved The Documentation Department had in 1971 a by the Swedish Film Institute, the Swedish Govern- budget of 450,000 Skr.It runs a photo service, a ment appointed a Commission in 1963 with the clipping archive, has about 18,000 printed volumes purpose of developing proposals for action. and 240 different magazines about the cinema and In 1970 this Commission issued its first report a stills collection of more than one million stills. in which the main emphasis was on reforms con- The Film Institute shows about 700 films every cerning the production, importation, distribution year in its building to the Film Club of Stockholm and exhibition of films for children and distribution with more than 10.000 members. and exhibition of quality films in the Swedish coun- This screening activity has a branch office in tryside where the repertoire is more limited than the city of Gothenberg and serves also a number in the metropolitan areas.The report contains of children's film clubs all over the country. also certain recommendations concerning close The Film Institute also screens current films co-operation between Swedish film and Swedish in the Swedish countryside. The budget amounts to television. 400, 000 Skr and every year 12 foreign quality films The Commission is expected to issue two other are shown in 24 Swedish towns and cities outside reports later in 1972, one concerning the produc- the metropolitan area. tion and distribution of short films and one concern- Within the central administration is a depart- ing education about films in Swedish schools. An- ment of statistics, and a department of technical other report will include a study of the structure development which also publishes a magazine on of the film industry. technical news in the film field. A notable achieve- The final report,expected to be issued in ment of this department is the development of the 1973 or 1974 will deal with the more fundamental Super 16 system. problems affecting the future of the Swedish film The various activities in the public relations and its part in Swedish society. field (promoting the Swedish film abroad, publishing a periodical magazine in French and English as well as one of the largest film magazines in the THE BRITISH FILM INSTITUTE world, the Swedish monthly Chaplin) accounts for about 800, 000 Skr in the same period. In Britain, the film industry is, and for mos* of Clearly, the Swedish Film Institute represents its history always has been, entirely private, and a different formula from either of the two previous film activities are carried on by a multiplicity of institutions we have attempted to outline, and adds organizations. As we saw, the only State-owned some interesting variations to the pattern of over- film production unit, Crown, was disbanded in 1952, all institutions. But has the reform of 1963 worked and the only State-owned distribution agency is a out? Has it fulfilled its main purposes? For the non-commercial or non-theatrical one - C. 0. I. 's most part,it would seem so. The decline in the Central Film Library. (See Annex J.) Even film production of Swedish feature films has been re- censorship wt.ich in most countries is under state versed: it has in various ways served the prestige control is exercised largely in Britain by an inde- of the industry internationally and arranged co- pendent body (the British Board of Film Censors) production agreements with certain countries: the set up in 1912 and run since then by private industry film archive is more worthy in its scope of a coun- itself. try with Sweden's cinematographic tradition and Nevertheless, the State in Britain can and does can now purchase, copy and restore films for intervene in matters affecting the film industry, posterity. including censorship, in a variety of ways, direct The reform, it is claimed, has put new life into or indirect, and through a number of government the Swedish cinema in general.Its example has departments. Thus by various Measures enacted been emulated by neighbouring Denmark which has introduced a system not unlike that in Sweden, 1. The State and Culture in Sweden,p. 161.

$ 36 since 1909. the Home Secretary controls the licens- by the outbreak of War. After the War, the view ing of public cinemas and this power, subject to emerged that the Institute was too "overall" for its Home Office regulations currently in force, is exer- resources.Moreover,the immediate post-War cised by the local government authorities who period saw the creation of a number of new organi- become thereby the ultimate legal censors of films zations,especially two concerned with the film exhibited in Britain.Since 1927, a quota system in school education - the National Committee for has laid down the proportion of British first feature Visual Aids in Education and a servicing counter- films cinemas must show. ( 1) part, the Educational Foundation for Visual Aids, There is also a levy on cinema receipts ( statu- initiated partly with an interest free state loan. In tory since 1957 but previously imposed voluntarily consequence, in 1948 the B. F. I. ceased to concern by industry itself) to provide a fund out of which itself with the use of the film as a teaching aid in British films receive payments based on their box primary and secondary schools and its aims were office receipts.Apart from these two previous redefined by the Radcliffe Committee of Enquiry measures to help the private industry, the State as being "to encourage the development of the art created in 1949 a National Film Finance Corpora- of the film, to promote its use as a record of con- tion which lends out money for feature productions temporary life and manners, and to foster public on strictly commercial grounds and is responsible appreciation and study of it from these points of to the Department of Industry and Trade.The view". Goverr..nent's interventions in film activities of an Today, close on 40 years after its birth, the educational and cultural nature are of various kinds Institute is almost unrecognizably different from and are mainly channelled through the Department what it was, and has now an annual government of Education and Science. As regards the art of the grant some 90 times larger than then, overall film, this action is centred in the State's relations income, some 140 times greater, and a staff about with the British Film Institute which, although it 12 times larger than then (40 and 306 today) and a has been in receipt of public funds since it began in structure and scope of great interest to the student 1933, has only received a direct government grant of cinematographic institutions. This structure is since the passage of The British Film Institute Act schematically portrayed by the chart given on page in 1949. 38 (Figure III). It provides a convenient starting The institutional character of the British Film point for a brief sketch of the present-day situation. Institute has been briefly explained by a former At the top of the organizational tree we have Director, James Quinn. "Like the British Broad- the Board of Governcrs appointed by the secretary casting Corporation and the Arts C .uncil", he writes of State for Education and Science. These 15 to 20 "the B. F.I.as it is commonly called, is a public people serve on a voluntary basis for three years. body under the control of its own Board of Gover- The present Chairman is Mr. Denis Forman, for- nors and independent of the Government, although merly himself the Director of the B. F.I. and now its Governors,like the Governors of the B.B.C. a leading figure in British commercial television. and the Council of the Arts Council, are appointed His appointment in April 1971is perhaps not with- by the Government. Whilst there are further simi- out significance since, in 1961, the Institute's aims larities between the B. F.I. and the B.B.C. and were extended to include the following:"to foster Arts Council, the analogy should not be pressed too the study and appreciation of films for television far if only because the resources of the R. F. I. are and television programmes generally and to en- so very much less than those at the disposal of the courage the best use of television. " other organizations. "( 2) The chief executive is the director. Among the The British Film Institute is substantially older largest Departments is the National Film Archive than the Arts Council, the vehicle for State subsidy headed by the Curator, Mr. Ernest Lindgren. The to the other arts which was not founded until after Archive is the successor to the National Film the War.But an important fact about the B. F.I., Library ( the name having been changed in 1955) not without relevance to the present survey, is that and is generally agreed to have been the most ef- its nature has changed fundamentally since it was fective of the Institute's earlier activities. Histo- created in 1933 with an initial subsidy of under rically and actually, the Archive remains a major £9, 000. A 1532 report which led to its being set up and most significant component of the Institute's saw it as promoting "the various uses of film as a make-up. Its function is to acquire, preserve and contribution to national well-being" and its original make available for study a national collection of purpose was to 'encourage the use and development of the cinema as a means of entertainment and 1. Since 1950 this proportion, fixed annually by the instruction". At the outset it was given impossibly Department of Trade and Industry in consulta- wide terms of reference including especially the tion with the Cinematograph Films Council, may whole range of activities connected with the use be changed by statutory instrument approved by of films as teaching aids throughout the educational both Houses of Parliament, but has in fact system.During the nineteen thirties, the B. F.I. remained unvaried since 1950 at 30%. tried to fu'ftl a multiplicity of functions with an an- 2. The Film and Television as an Aspect of European nual subv u.: in which had crept up only to£10.000 Culture, Sisthoff, Leyden. 1968, pp. -31.

1j30 3? FIGURE III BRITISH FILM INSTITUTE

I DEPARTMENTAL STRUCTURE OF THE INSTITUTE

Board of Governors

Director Curator Deputy-Director Secretary I i

Head of Film Services Division and Regional Controller

Head of Controller Head of Education of National Publications Services Film TheatreDepartment

Deputy Curator Deputy Heac4 Film Servitl

01 3 it U 6 a e 6 E W E a a = 1 .c. E 1 a 1 a: 11 1 i i A E i S us 17 = ... 1

C U.-- . L. NATIONAL FILM ARCHIVE EDUCATION I FILM SERVICES AND NATIONAL PUBLICATIONS REGIONAL FILM ADMINISTRATION DEVELOPMENT THEATRE AND FINANCE

Note : The Deputy Director, reporting to Director, is responsible for Finance and Central Services

38 films - features, documentaries, newsreels and re- previous films,will total some £75, 000. But the corded television p- ogrammes. While the Archive system of allocating and administering these re- covers the categories of activities shown in the sources is worth noting.When an aspiring film- first group column of Figure III, "Film Storage maker seeks support, he submits a script which and Preservation" is obviously the basic one. in its is read by the B. F. I. 's Production Officer and by vaults at two centres outside London ( Aston Clinton two others - the Institute's Director or members and Berkhamsted). the Archive holds over 20.000 of the Board's Committee. If suitable it goes to films, mainly British but including films from all the full committee.The successful applicant is the major producing countries.The Stills Co llec- interviewed and allowed to show examples, if any tion is exceptionally large with 700,000 photographs of previous filming. Once the project is approved. of which copies can be bought or hired. Its Infor- a budget is agreed but no cash handed over, the mation and Research Department has a Library of B. F. I. meeting any bills incurred and providing some 19.000 books and pamphlets. Film catalogu- certain very modest production facilities free of ing is another field in which it has pioneeied making charge.Most of the films are shot and edited by in the current jargon. the Archive into a "resource the author himself but professional technicians for learning" of an essential kind. may be used under an agreement with their trade The Educational Advisory Services ( the second union, the A. C. T. T. Films may, and often are, column groupon Figure III) is mainly occupied with exploited commercially in theatres and on tele- promoting the study of the art of the film through vision at hor:ie and abroad and the net proceeds what used to be used film appreciation and is now shared equally between the maker and the Board. called screen education. This includes organizing About 15 two-reel films a year are made in this about 1.000 lectures each year and running an an- way, although the Board can receive up to 1,000 nual Summer School. The Department works close- applications for grants in a given year. ly with teachers and teacher - training college and As regards the B. F.I. and its Swedish counter- university lecturers.According to the present part, it is interesting to note that the Swedish Film Director, a major part of the Department's work Institute has not so far taken on a function the is "teaching the teachers - which often means help- B. F: I.relinquished in 1948 - promoting the use ing people who have developed a private amateur of films as teaching aids for schools. Conversely, interest in the cinema to put it on a more pro- the B. F.I. has not taken on a function which the fessional. academic footing."( 1) Swedish bodygave up in 1970 - that of running the The Institute also provides grants for two volun- National School for Professional Film Training. tary organizations of teachers; viz. the Society for The Institute was largely responsible for the Education in Film and Television, which, among establishment of the School but preferred not to be other things publishes a critical magazine for film responsible for its day-to-day operation. The newly teachers called Screen; and the National Associa- established National Film School in Britain is tion for Film in Education which provides practical indeed a separate institution.(It will work closely advice for classroom teachers of film. The B.F.I. with the B. F. I. and the Director of the School at provides a grant to the British Universities Film present has an office at the National Film Theatre, Council as it also did previously to the Scientific but the School will use the Beaconsfield film studios Film Association. It likewise makes an annual grant near London.) This suggests that promoting visual to the Federation of Film Societies. The B.F.I. 's aids for the classroom, and professional training interest in the Film Society movement goes back to for film-makers, are functions not appropriate to its early years when such societies were relatively the institute type of organization. few ( 19 in 1939 and over 700 today). Taken as a whole, the major retie played by However, unlike that of the Swedish Film Insti- the B. F.I.in national life seems, apart from its tute, the Institute's direct involvement in film- film preservation work, to consist of documenting, making is relatively small. It began in 1952 when publicizing and providing information about films an experimental film production committee was set and showing them or enabling audiences to see good up to make very modest amounts of money available films which would otherwise be available to them. to suitable persons and groups.Among the first This side of the Institute's work, which has at- beneficiaries were the then unknown but now in- tracted currently a membership of 35,000 persons, ternationally known directors. Karel Reisz, Tony would seem to represent an important cultural Richardson and Ken Russell. The earlier committee function for this type of institution. has now been succeeded by a "Film Institute Pro- This function is fulfilled in various ways by the duction Board", which is better equipped and has divisions given in Figure III under "Publications", more assured funds. Despite the very useful prim- "National Film Theatre", and "Film Services and ing of creative pumps the Board achieves,its re- Regional Development". sources in this field have been very small ( about The Institute's publications include books, £10,000 a year) alongside those of the Swedish Film pamphlets and magazines, especially Sight and Sound, Institute.however in the current year resources have increased and combined grants from govern- 1.Reed, S. Outlook 1967: a report and review, ment and other sources, including earnings from B. F. I. , 1967, p. 22.

39 a critical quarterly with a current circulation of due to competition not only from television but from over 31, 000 copies per issue at home and abroad. other new leisure pursuits. has contributedto the Sight and Sound is one of the oldest established trend towards smaller and more quality-discrimi- journals of its kind in the world, slightly older nating cinemas of which the RFT'sare a manifes- indeed than the B. F. I. itself who took itover from tation. the adult educational movement.The Institute's The work of the RFT's is summarized by the other main periodical publication- a critical filmo- B. F. I. itself in these words: graphy called The Monthly Film Bulletin- is almost as old: it reviews about 400 films. features and "The Regional operation has greatly expanded shorts. released in Britain each year. the Institute's sphere of activity.... The creation of a "National Film Theatre" is There are now 40 Regional Film Theatres, one of the Institute's most interesting initiatives, mostly operating for at least one weeka month. and the idea of a national "show case" for theart All ( except the Bristol Film Theatre)are of the movie is one which is likely to bemore wide- open to the public. though some of the RFTs ly adopted.A fortunate circumstance made the also have membership schemes. Thereare Theatre's birth possible. For the centenary national also three full-time RFTs at Brighton. Man- exhibition, the Festival of Britain in 1951,a hand- chester and Newcastle. There is close liaison some but temporary cinema theatre was putup. between the B. F.I. and local authoritiesand equipped with stereoscopic projection and- a con- other local bodies such as universities and siderable novelty at the time - a closed circuit tele- regional arts associations in the settingup vision chain. This building - the Telekinema- was of RFTs.The Institute makes a capital grant. nanded over to the B. F.I. in 1952 and became the at its maximum matching locally raisedmoney. first home of the National Film Theatre or NFT. for provision of, or improvements to, tech- In 1957. the NFT moved to its present structure, nical facilities and may also providean annual ingeniously designed to fit under the arches of deficit grant. The Regional Office of the B.F.I. Waterloo Bridge. The work of the NFT,as it has provides central services such as bookings now developed, is summarized in a recent publicity and technical maintenance and adviseson B. F.I. brochure which describes the Theatreon programming. On Tyneside. a large-scale the South Bank of the River Thames: "Programmes educational project,financed jointly by the are presented in two cinemas (NFT 1 and NFT 2). Gulbenkian Foundation and the Department or NFT 1 has 500 seats and NFT 2 has 165. There is Education and Science, is under way. "(1) also a third viewing theatre (NFT 3) whichacts as The Institute is one of the country's principalnon- a meeting room and 50-seater cinema. The NFT commercial film distribution agencies through the Club has catering facilities anda licenced bar. The two main activities of its -"Film Services Division", National Film Theatre each year presents 800 films described in this further extract: from all the major producing countries of the world and annually covers the history of the cinemafrom "The Distribution Library containsover 2,500 the early silent days to the latest productions. titles (both 16mm and 35mm). covering film Films from overseas. many not otherwise available classics,films on the art and history of the in Britain, are normally shown in their original cinema. and films about the other arts and versions,either sub-titled or with an earphone-' "s1_A , sciences.They can sql be hired for private, commentary. The National Film Theatre usually non-commercial showing and a printed cata- presents 15 to 20 different programmes each week. logue containing a descriptive list of the films In the Autumn the Theatre mounts the London Film is available from the Publications Department. Festival at which 30 of the finestnew films from The Central Booking Agency offers acompre- all over the world are screened. Programmesare hensive film-booking service to film societies generally arranged in seasons coveringa theme or and educational bodies throughout the country. genre, a work of a director, actor or producer, a The Agency negotiates with commercial film major production company or country. " distributors and.for a small charge. the The extension of the NFT idea from the capital societies are saved the numerous separate to the provinces is a more recent, but scarcely less negotiations entailed in planning theirsea- important, development. The NFT itself came into sons."( I) being with the co-operation, financial and moral, of The outlook or philosophy of a country in respect municipal government - the Greater London Council, of the cinema often emerges clearly fromthe and the same local authority collaboration, together legislation applying to it there. An example of with interest aroused by the film society movement, comprehensive legislation creating nationalover- has played an essential part in the establishment all cinematographic structures is the Italiancinema in various parts of the country outside London law referred to earlier. The dispositions ofthis of Regional Film Theatre or RFT's. The changed law are described by Professor Mario Verdone in status of the commercial movie theatre, and the Annex 0. disappearance of what has been called the "old-style 1. Reed, S. Outlook 1967: a report and review, cinema mass audience of regular once-a-weekers" B. F. I., 1967.

40 THE CENTRE NATIONAL DE LA more legally than a name and making only a film a CINEMATOGRAPHIE IN FRANCE year or less. He gives the following table for 1966 to which we have added in brackets the correspond- Legal and professional postulates often influence ing figures for 1970: strongly institutional structures in the cinema. A case in point is that of France where such factors Active Production No. of films led to the emergence of a highly original institution, Companies each produced the Centre national de la cirdmatographie or CNC 69(95) 1 film 26 (22) 2 films ( National Cinematographic Centre). 1, The evolution of the Centre has been traced in 11(7) a recent work by a distinguished jurist who is also 4 (5) 4 a deputy director of the CNC, Dr. Girard Valter(1) 2 (4) 5 1(2) 6 and dealing with the system of professional organi- It zation of the cinema in Frame. Significantly, his 1 ( ti) treatise is subtitled "Du cnrporatisme au rEgime 2 (1) 8 administratir (meaning roughly "From a pro- 4.The cinema it is said is a erne (of chance). fessionally oriented doctrine to an administrative This brings out, says Dr. Valter, one of the charac- system of organizational control"), and he shows teristics of film production - its special nature as how the underlying juridical concept of the CNC has a financial enterprise. Always, investment is in the moved this way over the years since it was created creation of works which are subject to all kinds of by law in October 1946. vagaries and the relation between costs and returns, In his opening chapter, Dr. Valter deals with as many examples show, can vary enormously: film the different guises the cinema can assume.His activities are highly speculative. This is of course nine-point analysis is worth outlining not only be- true not only of France but of all other market cause it supplements usefully what we had to say economy countries. at the beginning on the nature and scope of the me- 5.The cinema, Dr. Valter recalls, is a business. dium but also because it throws light on the French This can be international, involving problems of film industry and how a particularly knowledgeable free flow and trade barriers etc., or national, in- and well-placed observer sees it. volving the commercial side of distribution and exhi- 1.The cinema, Dr. Velter recalls, is said bition. He gives various statistics showing the size to be an industry.But he points out that the only of film business in France. Among these, the fol- enterprises or establishments which can strictly lowing figures may be noted: speaking be described as industrial are the production studios ( of which there were 12 in 1966) and Receipts shared between distributors and pro- the processing and printing laboratories (of which ducers in 1968251, 299 million heavy francs (in there were 16 in 1966). The term industry is how- 1970, 286,230 million heavy francs). ever used sometimes to cover the whole film Number of entrance tickets sold in 1965 profession and sometimes to cover film production 259, 100, 000 ( in 1970, 183, 100, 000). companies of which in 1966 there were in France Taxable box office receipts in 1965. 790,383 624 for feature films and 1, 006 for shorts. The million heavy francs (in 1970, 875,802 :anion minimum authorized capital for such companies heavy francs).(3) was raised appreciably on 1 January 1967 and in 6.The cinema, recalls Dr, Valter, is a szs- the first quarter of that year alone the CNC with- tack (or entertainment) and this raises questions drew the authorizations of 109 feature companies of publication and representation; of rights in the and 190 shorts companies. ( The figures for 1970 finished work; and of fiscal dues. were 310 feature production companies and 797 7.The cinema is all these things, says our shorts companies authorized). author,but also one of the mass media and this 2.The cinema we are told, says Dr. Valter, raises the various usages and problems we referred is an art, the seventh art, indeed. This term covers to in our opening chapter. the activities of all those who contribute to the 8.Quoting Rend Clair without however naming creative side of films (writers, directors, etc. ) him, the cinema is said to be "an affair of State". but also certain technicians. ( 2) Dr. Valter quotes (Dr. Valter makes no comment on this!) the figure for the number of directors having a 9.Finally the cinema - in France at least - is professional identity card enabling them to prac- a set of administrative rules and reguktions. On tise in 1966 (573, of whom 87 were active in the this Dr. Valter expatiates: "These regulations are sense of having made a film during the year. Com- parable figures for 1970 are 560 with director's 1. Le REgime de l'Organisation professionnelle de cards, of whom 107 actually directed a film or films In Cindmatographie. Pichon and Durand-Auziaa, during the year). 1969. 3.The cinema is a craft, Dr. Valter recalls, 2. Known under EEC Directives as "collaborateurs in the sense that in France and many other countries de creation". most people making films work in the craft frame- 3. The rise in the price cf seats explains higher work of companies of very limited size with little receipts despite falling attendances.

4i FIGURE IV

Ministry of Information IMinistry of Cultural Affairs

I 1 Film Control Selection Commission for Cinema Selection Committee Commission Panels for 1 Financial Aid to Consultative for International Short Films the exhibiting Side Commission Festivals of the Industry

S/Committee for General Affairs for Export FdS1CommitteePromotion

Permits _INewsreel S/Committee F S/Committee

S/Committee for dS/Committee for Industrial Advances against and Technical Planning Box Office and Development Receipts F

National Cinema Centre I

Higher Technical Commission for Commission for Commission for Commission Cinema Exhibition Work Permits for Professional Licensing Projectionists Identity Cards Central Commission for Box Office Receipts

I I Commission for Commission for Commission for Art Production Permits Production Permits and Experimental for Feature Films for Short Films Film Theatres

I 1 Commission for Commission for Commission for Film Booking derling with the Non-theatrical Arrangements "Excessive Bars Sector and Restrictions"

The chart shows the CNC's relationships: it reflects the situation as at the beginning of 1969. In June of thatyear. the Ministry of Information ceased to exist and the "Commission de Controls des Films" (in effect, the Censorship Board)was transferred to the Ministry of Cultural Affairs. In March 1969 the body shown on the chart as being responsible for examining advances forfilms against box office receipts (S /Commission des avances sur recettes) had already been replaced by a full Commission directly responsibleto the Minister and with therefore a box and nexus line on the chart similar to that for the Commission for selecting French films for internationalfestivals.

42 FIGURE V FRENCH NATIONAL CINEMA CENTRE PositionlaThis Cinematographio "organigramme" in respect of the shows ofdivision the the Centre currentof tasks National (1972) de Director General between the various services and their coordination. Deputy Director-General andSub-directorate Technical Services for Production Sub-directorateDistribution and for Exhibition Serviceofand the the for Industry TechnicalFeature Films Side CulturalService for Promotion toFinancialService Production for Aid andServiceRegulationsDistribution Professional for ExhibitionBox-OfficeServiceIssues for and Permits Ticket ofService Box-OfficeReturnsthe Control for andDataService Statistics Retrieval for ServiceforFinancial Exhibitions for Aid ISub-directoratecoming underfor Finance the National and Bodies Cinema Centre ISub-directorate for General Affairs ServiceFinancial I Box-OfficeAdvancesService for against Receipts ServiceFilms for Archives andSpecialService Researches Studiesfor ServiceLegal for Problems Inspectorate ServiceForeign for Relations andService Equipment for Personnel Documentation Service DepartmentChief Accountant's ServiceRegister for theof Transactions Public extremely detailed, complex and multiple inform Ministry of Cultural Affairs, and the variousorgans and do not exclude from their field of application for carrying out the foregoing responsibilities. any of the branches of the profession, or any of Set up in 1959 to replace a "Conseil supreme" the manifestations of what (to avoid usingany of the established in 1953, the Commission Consultative foregoing definitions since all of themare partial du Cin4ma (or Consultative Cinema Committee)is, reflections of a central reality)we may describe as the chart shows, the supreme advisory body for by a global term as "l'activit6 cin4matographique" the industry. Its mandate covers not only ( "film activities"). advising the Minister on the financial aspects and theworking Here then we have a film industry which, though of the system of aid to films buton all such aspects reduced over the years through competition from of policies affecting the film industryas the Minister television,remains a very major creative and may require.Its Sub-Commissions, listed on the business activity carried out largelyas a private chart, indicate the main lines of the Commission's enterprise but subject to an exceptional degree of competence. There is no direct hierarchical link official regulation. between the Commission and the Centre national de The Centre national de la cindmatographie is cindmatographie. But the CNC provides the Secre- the overall institution created by the French State tariat for the Commission and its Sub-Commissions to administer these regulations, but its mandate and also for the Censorship Commission: this work goes, as we shall see, much wider and embraces occupies a department of the CNC called "Service all aspects of "1'activit4 cin4matographique" des Commissions". Therein lies its essential interest fromour point The lower half of Figure IV shows clearly of view. the range of functions performed by the CNC., The CNC is a public establishment(1) enjoying Characterized by the titles of the various Com- financial autonomy and coming under the Ministry missions of the CNC inscribed there, they need of State for Cultural Affairs. Historically, it took not be re-enumerated here. The chief executive over in 1946 the functions of the Office profession- of the Centre is the Director-General who, nel du cinema set up at the Liberation in 1945and since 1953, has been appointed by decree of the of the Cindma directorate at the Ministry of Infor- Council of Ministers on the recommendation of mation. the Minister responsible for the film industry. (2) The responsibilities of the CNC are extremely The present incumbent is Mr. Andr4 Astoux. It varied. They are, in abridged form: is interesting to note that,like Mr. Forman, ( a) to study draft legislation affecting thefilm the present Chairman of the B. F. I.in Britain, industry; Mr. Astoux came to the CNC after experience (b)to undertake regulatory measures to as a leading figure in French television.Since ensure co-ordination between different sectors of he came to office in October 1971,Mr. Astoux the cinema and to rationalize and modernizecinema has paid particular attention to relations between enterprises and to arbitrate conflicts arising from this, except for labour disputes strictly speaking; (c) to control the financing of, andincome from, films; ( d)to grant subventions and advances for film productions,and supervise the use, and if need be, the repayment of such monies; 1. "4tablissement public" which in Frenchis applied (e) to centralize dayments of credits forpro- to "les perTonnes morales de droit administratif ducing and distributing films figuringon the finan- ayant la personnalit4 civile et cr44es pour la cial votes of civil government departmentsand gestion de certains services publics sp4ciaux". state agencies responsible to these departments; 2. Before 1953, the Director-General of theCNC ( f)to ensure the distribution of documentary had been nominated at first by the profession films and the development of the non-commercial ( film trade associations and trade unions)and sector in collaboration `h interested government then by a "Conseil paritaire" on which theywere departments and to r. 6,ze, with the co-operation strongly represented. Dr. Valter sees the change of trade and professional associations,national made in 1953 to the present position as fundamen- and international manifestations to furtherthe tal. This transformation of structure, he main- prestige and influence of French films; tains, "aimed at eliminating radically the profes- (g) to organize the professional, technical and sional link which, while safeguarding the basic artistic training of entrants to the industry; prerogatives of the Government, the Act of 1946 (h) to ensure co-ordination between socialand ( setting up the CNC) had sought to forge by the welfare services run by industry or inter-industry very nature ( "personne meme") of the body res- committees, and to run or supervise the conduct ponsible for the direction of this public establish- of all social and welfare activities. ment". He says: "The best definition of the CNC, as conceived since the 1953 reform, might be The "organigram" on page 42 (Figure IV) shows that of a personalized ( our italics ) administrative the structure of the CNC, its relation to its parent direction", (op. cit.,p. 119).

44 the two media.The results are of considerable available to the film industrythrough the "Soutien relevance to the present study. (1) financier de l'Etat a l'industrie cinematographique" The work of the CNC may be analysed along or "fonds d'aide", usually known as the "A ide au the three-fold lines of the State's action vis-a-vis cinema" andderived principally from a taxon box- the cinema of which the Centre is the principal office receipts. This has given the Centre surpris- intermediary,i. e. administrative and control; ingly wide powers and interests - much more so juridical and economic stimulation; and cultural indeed than one might imagine until one considers promotion. (2) the range of film uses and film institutions for which With regard to the first of these directions, the in France grants from public funds are made. CNC represents a particular and indeed unique way Of these the following recipients of subsidy via of bringing together under one institutional umbrella the CNC may be noted. all the various forms of intervention of the State in matters concerning the cinema.The Centre (i) the newsreel companies (bythe same token exercises this delegated function in two ways: (1) by as concessions to the newspaper press); establishing regulatory measures (taken by the (ii) the technical sectors of the film industry Director-General, called "decisions" and published (for the maintenance and improvement of plant in the "Journal officiel "); and (2) by its right to and equipment - studio,printing and developing c ontrolthe financing of films and income from them. laboratories, stock, etc. ); From this second prerogative stems the system (iii) the exhibition side of the industry (for whereby the CNC issues the permits without which modernizing existing movie theatres and bringing those engaged in all professional branches of the them into line with modern criteria for such enter- industry cannot exercise their professions, very tainment facilities, or for building new ones where closely scrutinizes the plans for financing films needed); before authorizing shooting to begin, and keeps a (iv) production companies making features or close watch so that the proceeds are fairly divided shorts. (3) between the various interested parties - producers, Various other beneficiaries take us towards the distributors, exhibitors, newsreels, and authors. third element of our analysis - cultural action. This financial control ensures that the CNC is Financial support from the CNC enables certain the agent for the second kind of state intervention institutions which are essentially scientific or we have referred to - economic stimulation. In cultural to exist. effect, the CNC manages most of the money credits The first of these is the Commission Superieure 1. Collaboration between the cinema and the French the CNC are at present completing a text fixing national broadcasting authority ORTF are the the rate of payment by a cinema exhibitor for subject of a section of the latest 1971 report of showing on the large screen a programme as the CNC in its Bulletin, which is worth quoting broadcast. in full: In another connexion,it may be recalled that "Since taking up office, the Director-General of the Minister for Cultural Affairs, Mr. Jacques the CNC has sought, with the Direct orate General Duhamel, signed with the Director-General of of OR TF, to define the bases of such collaboration the CNC on 28 March 1971, in the presence of which is an essential factor for the future of both the Prime Minister, a Charter of Cultural Co- the cinema and oftelevision. Many study groups operation which will result in an agreement on have met attended by Mr. Andre Francois problems relating to the cinema to be drawn up (Director serving as Inspector General of ORTF by the CNC and ORTF." and responsible for ORTF's relations with the 2. Cf. Tue article "Cinema, pouvoirs publics et cinema), Mr. Astoux and members of his staff action culturelle" in CNC Bulletin, no.116, and certain members of the film professions. April 1968, pp. 76-77. Those activities have centred on working out a 3. An exceptional and rather curious function pre- joint programme, of which the main points are viously undertaken by the CNC was the manage- covered in the Director-General of the CNC 's ment of the Union Generale Cinematographique Report to the Government. In Particular, the (or UGC).The UGC was a limited company in CNC has envisaged the possibility of ORTF, as which the shares were almost entirely owned by an exhibitor, benefitingfromthe cinema industry the State.It had absorbed in 1955 a number of aid fund.In addition, good progress was made expropriated firms created or controlled by the in the project for regrouping and modernizing Germans during the Occupation. It owned about the studios at Bry-sur -Marne in association with 20 first-run cinemas of which 6 were in Paris ORTF. At the end of 1970, this project was the and included feature production and newsreel subject of clarification between OR TF, the trade agencies in its assets.At the end of 1970, the bodies responsible for the technical sides of the State sold off the UGC under conditions imposed film industry and the CNC." on the purchasers by the CNC in order to safe- As regards the broadcast directly into public guard certain artistic,cultural,social and cinema theatres of TV programmes, ORTF and professional requirements.

A Technique de l'Industrie cinematographique (CST) in block-houses of ten apiece, individually clima- whichis- responsible for ensuring technicalpro- tized,which when completed will accommodate gress of all kinds (see Figure IV).The CST was 80,000 cans of flammable nitrate film, anda cen- described in the last chapter. tralbuilding for the laboratory for treating, making The CNC is also responsible, as we saw, for duplicates and checking of films ; ^,ir administration, the professional training of creative and technical documentation and cataloguing; and with both indivi- personnel.This is done through two educational dual and group facilities for the projection of films establishments -the IDHEC or "Institut des Hautes for reference and study purposes. Etudes cinematographiques" whichas the name im- In addition to the above, the CNC encourages plies is a professional school at the university level, the growth of film societies in various ways, and the Ecole Nationale Superieure "Louis Lumiere" includ ing the effective operation of regulations de- des Techniques et des Arts Audiovisuels whichwas fining their non-commercial status and authorizing recognized in 1964 as a "Lycee technique de l'Etat" ten national bodies to receive special treatment and whose arts and crafts courses lead to the grant- in organizing film shows seen by about 7 million ing of national diplomas of professional efficiency members each year. by the Ministry of Education. The Centre also administers schemes where- A body of a different kind is Unifrance Film, by certain categories of film shows for youth and which centralizes and co-ordinates efforts to family audiences receive tax exemptions.Along promote the overseas prestige and export side of similar lines are the arrangements controlled by French films. Unifrance Film is a private associa- the CNC for concessionary treatment of theso- tion set up in 1949 by the film producers themselves called "Cinemas d'Art et d'Essai", referred to in but subsidized by the CNC. The association hasa the previous chapter. headquarters in Paris and branches in manycoun- The CNC's activities in the cultural field tries.It has a documentation section including a include others, of which an interesting case is the press cutting service and its researches provide Centre's collaboration with another French type useful intelligence for the production side of the of institution -the Maison de la Culture. Recently, industry. It arranges contacts between French and the Centre has organized with the House of Culture foreign specialists and journalists and runsor co- at Bourges annual symposia on themes related to operates on French film weeks in other countries. cinema art which have attracted considerable Its essential function is a public relations and attention not only in France but internationally. export promotion one. However,it should not be overlooked that The CNC also supports the Cannes Film Festival, some of the purely financial interventions of the and enables its secretariat to operate throughout CNC have an important bearing on film culture. the year,as well as subsidizing other Festivals This is true,for example, of the advances the at Annecy (animation films). It also contributes to Centre makes, in anticipation of future box-office the Scientific Film Institute and the Committee for receipts, for films which promise to be of goodor Ethnographical Films. even exceptional quality. Various activities of the CNC underline its role One other element in the system run by the in respect of film culture. CNC and not mentioned so far is the Public Cinema Thus, a task legally assigned to the CNCas Register established in 1944 by which the CNC recently as 1969 is that of "ensuring thepreser- keeps open to public scrutiny film contracts which vation of films deposited under its care of films in have been entered into. This method of publicity which it acquires property rights".This followed provides safeguards in respect of film credits from an agreement reached in April 1968 between the official funds. Cinematheque frangaise and the French Govern- To sum up, the Centre National de la Cinema- ment.Under this,the State continues to support tographie represents an unusual type of overall this most famous and long-standing independent film organization,reflecting the French flair for foundation in various ways, including the freeuse the juridical codification of institutions andone for its shows of the projection theatres of the which contrives to assimilate State control, private National Pedagogical Museum and the Cinema enterprise,professional co-operation and the Museum at the Palais de Chaillot. fostering of creative initiatives. One of the reasons The new State body is called "le Service des for which it was set up was to safeguard the film Archives du Film (Figure VI p. ) The Archives' industry against the sort of economic crisespre- premises, erected under the supervision of the viously endemic in France as elsewhere.This, Chief Architect of National Buildings,occupy a site with varying success, it claims to have achieved, of about 4 nectars at Bois d'Arcy near Versailles. and certainly it has helped ensure greater stability. They consist of two preservation buildings for More pertinently, the CNC has assumed the key safety film on five floors, suitably climatized and role in the national make-up and progress of the with a storage capacity of 300,000cans of 35 mm French cinema as art and industry and contributed film; a series of preservation cell units, grouped to its acknowledged distinction.

46 FIGURE VI FILM ARCHIVES OPERATIONAL CHART i Depositor

Entry

/ ...1Identification IInspection Depository 1 Files Safety Film I Nitrate Film Checking i.-- I Consultation Viewing Ss, IIndexing Print ng if required

ICatalogue

r.,.;,,SafetyFilmtn; Nitrate Film L Vaults .: Vaults

This chart is a useful sthematisation of the working and organization of an archive far preserving films. It was prepared by the Service des Archives du Film of the Centre National de la Cinirnatogrephie of France.

i. THE POLISH MODEL OF A distribution through the network of State-owned NATIONALIZED FILM INDUSTRY or licenced cinemas. All film matters, with one or two exceptions, The longest established of the cinematographic come under the Ministry of Culture and Art,and institutions in socialist countries are ofcourse those belong specifically to the sphere of activity of the of the USSR.Various of these institutions in the General Direction of Cinematography (Naczelny USSR are reported on elsewhere in the present Zarzad Kinematografii), which replaced in1957 survey. It seemed useful to look at an example of the Central Office of Cinematography. From 1952 the organization as a whole of cinematographic to 1957 the Central Office played the role of the institutions in another socialist country - Poland. Ministry of Cinematography: now the General Direc- At our request, Professor JerzyToeplitz has ti on is on autonomous part only of the Ministry of provided he following clear andco:oprehensive Culture and Art. account of the situation there: The General Direction of Cinematography has After the Second World War in most of the as its head one of the Vice-Ministers of Culture Eastern and Central European countries the film and Art. industry was nationalized. It is composed of the bureau of organi- Albania,Bulgaria, zation and three departments: of programmesand Czechoslovakia, the German Democratic Republic, distribution, of producti on and technical investments, Hungary, Poland, Romania and Yugoslavia followed and of economy.The above-mentioned depart- the example given by the Soviet Union, where ments supervise practically all film enterprises already by 1919 the film had ceased to bea property and film institutions inthe country. They takecare of individuals and had become the property ofthe also of film associations. The General Direction nation of the people.The timing and the legal of Cinematography collaborates with various minis- modalities of nationalization vary fromone country tries, such as the Ministry of Finances (budgetary to another. Albania, Czechoslovakia, Poland and questions), the Ministry of Foreign Trade,etc. Yugoslavia began the process of nationalization of Polish Television comes directly under the Prime their film industri's in 1945. Czechoslovakiawas Minister's Office. Cinematography and television the first(11 August 1945) and included in its have a co-ordinating committee. Constitution of 1948 the following article 22- "The righttoproduce, circulate, publicly exhibitas well 1. Film Production as to import and export films is reserved to the State." In the German Democratic Republicthe The only film producer of feature fiction films in nationalization of cinematography was made intwo Poland is a State enterprise called "Groups of film stages,in 1946 and - in the final form- in 1952. Producers". The enterprise was composed in 1971 Bulgaria passed the nationalization laws in 1947, of six groups. All creative film workers suchas Hungary in 1948, and Romania in 1949. film directors, cameramen, script writers, sound The new legal structure of the nationalized film engineers etc., are on the payroll of the enterprise, industry is,in its main characteristics,similar but they can choose freely the group in which they in all socialist states, but thereare also some would like to work. Similarity of artistic ideas and differences and particularities due to the specific the links of friendship and comradeship form the historical,social and economic conditions of a constitutional basis of a film producing group. Its given country.The Polish model may serve as Head - director, writer or critic- is designated an example or an institutional set-up of cinemato- by the Vice-Minister of Culture and Art, andso is graphy in an European socialist state. the Literary Adviser - a liaison man between the The two documents which give the principles film producing group and writers.Each film and the foundaticin of the national film industryare: producing group has its Council composed of all the Decree of the People's National Council of members of the group. The task of thegroup is to 13 November 1945, and the CinematographicLaw discover and prepare film scripts for production, of 15 December 1951. According to them, the State and later to make the films. All financial and tech- has the monopoly of the import and export of films nical questions are dealt with by the State enterprise and the exclusive right to ownor to licence, but "Groups of Film Producers ". Filmsare produced only to public bodies, cinemas. The productionof in one of three fiction-film studios (Wytwornia films may be, theoretically, undertaken by private Filmow Fabularnych) in Lodz, Wroclaw,or persons, but in practice, because of the high cost Warsaw. The Film Studios also have the status of of production, only the state film enterprisesand a State enterprise, but they have no impact or a few film co-operatives make films. Moreover influence on the character of the films beingpro- the control and the supervision of all cinematographic duced, their role being onlyto supplythenecessary activities, both in the commercial and cultural technical services. One can compare "Groups of fields, are exercised by the organs of the State.In Film Producers" to publishers and "Film Studios" conclusion: the State in Poland is both the producer to printing presses. and the distributor of films. The State suppliesthe The position with regard to short films isa financial means for making films and organizesthe different one. There is no division in the process export and the import of films as wellas their of film making into two separate and independent

48 bodies. Both functions, artistic and technical, are From the point of view of the selection of films assumed by Film Studios, employing creative as shown, two groups of cinemas may be distinguished: well as technical film workers. In 1971 there were the normal commercial cinemas of different cate- in Poland the following studios producing various gories (first run theatres, "second screens" etc.1 kinds of short and medium-length films: the Docu- and the art theatres. This latter category resembles mentary Film Studio in Warsaw (cinema and TV in many respects "les cinemas d'art et d'essai". documentaries, newsreels), the Educational Film There is a third form of exploitation,a mixed Studio in Lod (popular education films for cinemas one - a cinema belonging to the category of theatres and TV, instructional films,scientific and school catering for the general public devotes one day a films), three film studios producing cartoon and week to the showing of films of artistic value (one puppet films, and sometimes short fiction films: calls them simply "good films", and such days are "Se-Ma-For" in Lodz, "Miniatures" in Warsaw called "days of goal films"). and studio of animated films in Bielsko-Biala: in The Central Office for Film Distribution (Cen- addition "Film Studio Czolowka" (producing instruc- trals Wynajmu Filmow) is a State enterprise, tional films for the army and films for the general havingthe exclusive right toprovide the copies of public concerned with the life of soldiers, the pro- films, both foreign and Polish, tv cinemas.The blems of defence etc. ); and finally the studio which Central Office for Film Distribution has its head- produces commercial publicity films and slides. quarters in Warsaw and 17 local exchanges, one All the above-mentioned State enterprises are for each province (in Polish - wojewodztwo). The supervised and controlled by the "Department of actual buying of foreign films is made by another film production and technical investments" of the State. enterprise "Film Polski", established in General Direction of Cinematography. 1964. "Film Polski" also buys films on behalf of Besides the film studios and film producing Polish Television, and sells abroad all products of groups within the system of the General Direction both Polish cinematography and Polish television. of Cinematography, there are some smaller film The Central Office for Film Distribution has producing bodies attached to certain ministries or two advisory bodies. The Film Repertory Council having the legal structure of a co-operative.It is established in 1956, recommends films from worth while mentioning that Polish Televisionavails abroad,for screening in Polish cinemas.The itself of the services of cinematography up to 80 to Council is composed of film critics, film workers 90%. The Film Producing Groups all make TV and cultural leaders and its composition ensures serials, and the Documentary Film Studio a great that its opinions carry professional weight.The many TV documentaries.Television has nevertheless Council ii also in charge of the programme of the its own TV Film Studio producing its own films, not film societies, for in Poland the State provides to mention the film inserts of TV Newsreels (four the necessary credits for the purchase of films services daily). for film clubs. There is a special pool of films exclusively used by film fans belonging to various 2. Cinemas, Film Dig ion and Import and film societies and clubs. All films, which "Film Export of Films Polski" intends to buy, have to be screened for the Council and its opinion is to be taken into serious In the years immediately following the liberation of consideration. In practice, therefore, the Film Poland, there were only State-owned cinemas. At Repertory Council decides on the programme for the end of the 1940's the trade unions began to estab- the whole cinema network in the country. lish their chain of cinemas. In 1956 the Govern- The second advisory body to the Central Office ment decided to put all cinemas, previously con- of Film Distribution is the Commission certifying trolled by the Central Office of Cinematography, films for children and youth, composed of teachers under the direct supervision of provincial, country and experts in pedagogics and psychology. The age and town People's Councils: This decision was im- limits in Poland are as follows: 7, 11,14, 16 and plemented in the years that followed. Since 1959 18 years. movie houses have no longer come within the system The Central Office for the Distribution of of the Ministry of Culture and Art. All cinemas Educational Films "Filmos" was set up in 1956 to are subject to the control and supervision of regional serve the network of school projection rooms, state administration bodies.(The same applies mostly 16 mm. incidentally to legitimate theatres. ) There are two State enterprises closely related This change of control and the replacement of with the distribution and exploitation of films, both the Ministry of Culture and Art by local State ad- supervised by the programme and distribution de- ministration has not brought about any alteration partment of the General Direction of Cinen.atography. in the institutional, legal set-up of Polish cinemas. The Laboratory, for printing copies from negatives The two main categories remain: on the one hand for use in the cinemas, is in Lodz. (The so-called there are the State-owned cinemas and on the other production laboratories are included in the film cinemas owned by various public institutions, social studios). The Dubbing Studio is located An Warsaw. associations, etc. (e.g. trade unions, the army, some In Poland there are two ways of sh'..ving foreign co-operatives, some State-owned factories etc. ). films: in large cities - in orir*.ial versions with

49 subtitles in Polish; in the provinces- in dubbed versions. School in Lodz which has academicstatus, trains creative personnel for films and television(directors, cameramen and production managers). 3.Other Film Institutions A ctors are trained also for the stage.The Film School belongs to the category of artistic schoolsof higher The General Direction of Cinematography,already education, and comes under the General indicated,takes care of various kinds of cinema Direction of Artistic Schools of the Ministry ofCulture and activities which do not necessarily fall withinthe A rt. three traditional branches of thefilm industry: production, distribution and exhibition. d. Film archive a. Technical equipment for cinemas and film studios Filmoteka Polska, prey iously Ce ntral FilmArchives, is located in Warsaw, and collects,preserves The production of raw filmstock(positive and shows, within the bounds of possibility,films and nega- of artistic and historical value.Filoteka Polska tive film) is undertaken by specializedfactories, in comes under the General Direction of Warsaw and in Bydgoszcz, but theyare subor- Cinematography. dinated not to the Ministry of Cultureand Art, but 4.Organizations of Film Workers and logically, to the Ministry of Chemistry.The same Film Associations principle is adopted concerning theproduction of projectors (in 35 and 16 mm), the factoriesfor these All those employed in cinematographic in Lodz being controlled by the Ministry of institutions Light are, as a rule, members of the trade union,group- Industry. The General Direction of Cinematography ing all workers in cultural institutions has within its purview a state enterprise "Spefika" (cinema, which makes certain specialized theatre, museum, etc. ).This union called the types of apparatus Trade Union of Workers in the fieldof Culture for film studios, but not inany great numbers (e. g. (Zwiezek Zawodowy Pracownikow Kultury) moviolas, editingtables). The Centre is a for Technical member of the Polish Trade Union Council. Experimentation works on the prototypesand models It has its of technical film equipment. headquarters in Warsaw and branches in alltowns. There are no autonomous specializedsections. b. Publication of film books and film Creative film workers belong to theAssocia- magazines tion of Polish Filmworkers.There are various There is a specialized publishing house sections inthe Association accordingto the profes- which is also sion of its members. Each sectionhas its gbvern- a State enterprise, called Art and Film Publications ing body, and numerous sections, (Wydawnictwa Artystyczne i Filmowe).The acti- such as those vity of this institution is controlled for film directors orcameramen, have Councils, directly by the representing their professional interests. Ministry of Culture and Art through theDepartment The of Publications. Art and Film A ssociation of Polish Filmworkers(Stowarzyszenie Publications (shortly- Filmowcow Polskich) is consulted bythe General WA IF) publish a film weekly "Film",three film Direction of Cinematography monthlies: "K ino", "Kamera" (devotedto educational on all questions of vital importance to the Polish cinema.A ctors may and scientific films) and "Kinotechnik"(technical be members of this Association, problems). The Central Office of but traditionally Film Distribu- they belong to SPA TIF- Association of Polish tion issues a weekly "Magazyn Filinowy",a quar- Artists for theatre and Film. terly "Polski Film" (in severalversions: French, Film critics and journalists are members English, German and Russian) anda Film Year Book. of the Association of Film Journalists,affiliated to The Federation of Film Societieshas its own the Association of Polish Journalists. monthly - "Film Culture" (KulturaFihnowa). There There are two large organizations is also a weekly "Ekran" (Screen)covering both grouping cinematography and television. enthusiasts for cinematographic art.One of them, quite often mentioned already in thispaper,is c. Film training the Federation of Film Societies.Its membership grows steadily and in 1971 there wereover 300 societies - full members and candidates- all over The General Direction of Cinematographycontrols Poland, a Technical Course (for correspondents) and but mostly in university centres.The a Federation of Amateur Film Clubs in Poland Training Centre for technical andadministrative was staff in Wroclaw. founded in 1953. Specialists in thevarious branches of educational and scientific films The Leon Schiller Film, Television and belong to the Theatre Polish Association for ScientificCinema.

50 CONCLUSION

1Vithin the available space, this survey could not it is not to miss out in essential ways, a country hope to cover in any depth each and every aspect of should seek to cater for all the main features and the way cinematographic institutions may be organ- functions described in the survey in its national ized and operated. One aspect which we would have cinematographic set-up. liked, for example, to explore further is that of the How this should be done arises when we com- decentralization of institutions and agencies. Here pare these chapters with the one on overall institu- the evolution of the cinema in Yugoslavia is of es- tions. None, of these latter covers all the aspects pecial interest, based, as it has been, on the coun- of the film referred to in the previous chapters. try's federal structure and on the notion of the "auto- Whether they should do so is doubtful and so too gestion" of creative endeavour. Recent achievements is whether institutions very broad in scope are of youthful film makers and teams working there in- likely to give due care and attention to specialized dependently and on a local basis have been noteworthy :activities.On the other hand, the same kinds of and show that this way of organizing film activities equipment, manpower and skills tend to be called is worthy of study alongside the examples quoted in on for certain activities such as educational film- the present survey. making, production of shorts and documentaries, Then, too, there are possible variations on some and the making of films for television.Where of the organizational and institutional formulas we resources are very limited indeed, can duplication have been describing. One such variation which be justified and activities of a separate and parallel merits attention is that provided by the National kind allowed to compete for the same scarce sup- Film Institute of Argentina and the cinema law es- plies? Obviously, there are no simple answers to tablishing it.Many features of this law are similar this type of question, which involves factors of in- to those of the Italian law discussed by Professor vestment and cost and local conditions. Verdone in Annex Q. But the Argentine National In considering costs and the economic viability Film Institute is also responsible for some of the of film operations, one point made in the survey functions carried out by the National Cinematographic is especially important.This is that ultimately Centre (CNC) in France. And there are other fea- it is distribution and use that are the deciding fac- tures and functions not found in either of these tors.In other words, itis unwise to embark on European systems (an unusual one being that the law ambitious schemes without proper research into provides that not only films to be screened in cine- potential users and the market, in the widest sense, mas but also those to be televised are registered for for the eventual products. visas with the National Film Institute (Art. 23)). Keeping abreast of another type of research is If the survey makes no claim to be a complete also important. Technological change is affecting analysis of cinematographic institutions, the ex- film operations and institutions as it is other as- amples described do offer a fairly comprehensive pects of audio-visual communication and indeed com- selection of typical institutions. (1) munication generally. New super 8 and 16 mm film The survey has aimed to document ideas and guage formats are miniaturizing, cheapening and practices and not, as the Introduction insisted, to streamlining film production processes as well suggest "models".But it may be usefulto indicate as distribution and exhibition.In the latter respect, in conclusion one or two points which seem to emerge. it should not be overlooked that innovations like The first is the many-sidedness of the cinema, and the variety of processes and social and cultural factors which together go to make it up. The chap- (1)Fora further indication of the range of bodies ters on particular types of institutions has brought concerned with films, see the note on the IFTC this out clearly.They underline the point that, if itself in Annex R.

51 video-cassettes and discs and cable televisionare some contribution, however modest, to the growing also new forms of film distribution. Providing the 4wareness of the importance of the cinema, and to "software" for this new audio-visual "hardware" will that better appreciation we referred to at the be- 4 bean inevitable function for film institutions. Hence ginning of the need for a country to ensure thepro- the importance attached to research and develop- per development of its film culture in the national ment by some of the bodies we have examined. interest both internally and in respect of its rela- Finally, the survey will, it is hoped, have made tions with other countries and its place in the world.

52 ANNEXES

In some of the following annexes, the national mem- as possible, given in the language, or one of the bers of certain international bodies are listed. The languages, of the country concerned, or exception- information for these entries has in all instances ally where the title in this language was not avail- been furnished by the organizations concerned: for able, an equivalent in English is provided. some of these, the names of principal officers, as The foregoing applies to Annexes A, B, C, D, well as those of the national organizations and the E, F, G, II and K. The designations employed in addresses, were supplied and are included. this volume and the presentation of the material do Entries for each organization have been ar- not imply any expression of opinion on the part of ranged by alphabetical order in English of coun- the International Film and Television Council con- tries, or in one case (Annex H), by towns and cerning the legal status of any country, or of its cities. authorities, or concerning the delimitations of the The names of national organizations are, as far frontiers of any country or territory.

53 Annex ,', EDUCATIONAL MEDIA ORGANIZATIONS AND EDUCATIONAL TECHNOLOGY

This Annex is in two parts: CANADA Part I:International Council for Educational Mr. W. Jobbins, National Film Board of Canada, Media (ICEM): National Branches 1 Grosvenor Square, London W1X OAB, England.

The Council was founded in 1950 under the name of DAHOMEY the International Council for Educational Films, in '). order to cope with the wide range of educational Mr. C. Prince-Abodjan, Service des moyens audio- media for which its national organizations were visuels, Ministere de l'education nationale, Porto responsible.The name was changed in 1966 tothe Novo. International Council for the Advancement of Audio- visual Media in Education, and in 1970 to its pres- DENMARK ent title.Full membership is open to one person from each country competent to represent the na- Mr. A. Jepsen, Statens Filmcentral, Vestergade tional organization for production, distribution and 27, 1456 Copenhagen K. use and/or information on modern media for education. The objectives of ICEM include: to promote FINLAND world-wide contacts; to provide an international channel for an exchange of views and experience in Miss A. Toivone, ValtionOpetuselokuvatoimikunta, the field of educational technology; and to promote Bulevardi 17 A 14, 00120 Helsinki 12. a better integration and use of all modern media in education. FRANCE Secretariat:, 29 rue d'Ulm, 75 - Paris 5. Mr. R. Lefranc, Office franeais des techniques ARGENTINA mode riles d 'education (OFRATEME), 29 rue d'Ulm, 75 - Paris 5. Mrs. E. Sanez de Mendez, Departamento de Tech- nologia Educativa, Ministeriode Educacion, Lavalle FEDERAL REPUBLIC OF GERMANY 2634 - 20 Piso - Buenos Aires. Dr. W. Cappel, Institut for Film und Bild in AUSTRALIA Wissenschaft (F. W. U.), Bavaria - Film-Platz. 3, 8022 Grunwald, b. Munich. Mr. D. W. Hood, Education Liaison Officer, Can- berra House, Maltravers Street, Strand, London DEMOCRATIC REPUBLIC OF GERMANY WC 2 II 3EH, England. Deutsches padagogisches Zentralinstitut, Krausen- A USTRIA strasse 8, 108 Berlin.

Dr. F. Hubalek, Bundesstaatliche Hauptstelle fur GHANA Lichtbild und Bildungsfilm (S. H. B.), Sensengasse 3, A 1090 Wien 9. Mr. Nyatepe-Co, Ghana National Audiovisual Centre, Ministry of Information, P.O. Box 745, BELGIUM Accra.

Mr. J. Sauwen, Service cinematographique, Minis- GUATEMALA tere de l'education et de la culture franeaise, 7 quai du Commerce, 1000 Bruxelles. Mr. A. Matute, Audiovisual Centre of the Univer- sity of San Carlos,.Cuidad Universitaria, Zona 12, Mr. E. Hambrouck, Service cinematographique, Guatemala. Ministere de Peducation et de la culture flamande, 7 quai du Commerce, 1000 Bruxelles.

54 HUNGARY SWITZERLAND Mr. 3. Dusz, Committee for Audio-Visual Media. Mr. R. Hartmann. Centrale du film scolaire. Martinelli Ter 8, Budapest V. Erlachstrasse 21, CH 3000 Berne 9.

JAPAN TUNISIA

Mr. T. Moriwaki, Japan Audio- visual Educational As- 'Mr. M. Ben A jmia. Secretaire general de P1nstitut sociation (J. A. V. E. A. ) , 26 Nishikubo Sakuragawa- des sciences de Ptducation. 17 rue Fenelon. Tunis. cho, Shiba, Minato-ku, Tokyo. TURKEY KUWAIT Mr. K. Erden, Educational Aide and Technical Co- Mr. Al Rasheed, Audio-visual Aids Department, operation, Ministry of Education, AnZzara. Ministry of Education, Kuweit. UNITED KINGDOM OF GREAT BRITAIN LUXEMBOURG AND NORTHERN IRELAND Mr. E. Kohl, Centre audio-visuel. Office du film England: Dr. .1. A. Harrison. Educational Founda- scolaire. Walferdange. tion for Visual Aids (E. F. V. A. ). 33 Qceen Anne Street, London W1M OAL. MADAGASCAR Scotland: Mr. Macluskte, Scottiz!, Film Council. Mr. Ramalandjoana. Ministere des Affaires cul- 1617 Woodside Terrace. GIsgola C3. turelles. Direction generale des services acade- miques. Direction de l'enseignement du ler de,,re. UNITED STATES OF AMERICA B.P. 267, Tananarive. Dr. Anna L. liver. Division of Educational Tech- MEXICO nology.National EducationAssociatton,1201 Sixteenth Street. N. W.. Washington P.C. 20036. Mr. Galvez Y Fuentes. Institute Latinoamericano de la Commuricacion Educativa (ILCE). Unesco/ YUGOSLAVIA Mexico. Apartado postal 18862. Mexico (18) D. F. Mr. 11..Jakovjlevic. Educational and Cultural Film NETHERLANDS Centre, Marsala Tita 2, Belgrade. Mr. J. H. L. Jongbloed. Nederlands lnstituut voor audiovisuale media (N.1. A. M. ). 31/33 Sweelinck- Part II:Educational Technology: plein, Postbus 6426. The Hague 2078. A Descriptive Statement

NORWAY A.The nature of educational technology Mr. L. Fanavoll, Statens Filmcentral, Schwensens- Educational technology is understood as the sys- gate 6, Oslo 1. tematic application of scientific and technical knowledge to the processes of learning and teaeing. POLAND B.The pu-poses of educationa1 technology Mrs. Wrobel-Koblewska. Instytut pedagogiki. Ul. Gorozewska 8, Warsaw. The purposes of educational technology are: (1)to ensure the full and effr.rtive contribu- PORTUGAL tion of the methods and means rftferr:nito below to the economic and administrative measures whereby Mr. A. C. Leonidas. Institute for the Audio-visual human beings organize their educational activities, Media in Education. Rue Florbela Espanca, Lisbon 5 through the integration of these methods and means into existing and new procedures and strategies SWEDEN emerging in overall educational planning, for example. systems analysis and operational research, Mr. liansson. Utbildningsforlaget. Fack S 104 22 made possible by advances in the fields of public Stockholm 22. and private administration and of industrial growth;

55 (2)to further the intellectual methods by which images and sounds, and the information human beings learn and teach, through the they em- use of body, made possible by advances inscience, tech- new instruments and techniques combined with the nology and manufacturing competence. development of new and existing conceptsabout, and approaches to, these processes,such as re- C.The context of educational technology sources for learning and the programming of instruction, based bn advances in the social andbe- In the above ways, educational havioural sciences; technology, used both for group teaching and self-instruction,can (3)to promote, for educational purposes, the help to enrich and expand the part played physical means by which human beings by edu- communicate cation in the lives of human beingsthrough, for with each other through the developmentof new and example, the development of education existing techniques and instruments for as a per- recording, manent or life-long experience and thegreater reproducing, processing, storing, retrieving,pro- democratization of educational provisionat all viding access to and disseminating stilland moving levels.

56 Annex B SCIENTIFIC FILM ASSOCIATIONS

INTERNATIONAL SCIENTIFIC FILM Organization, 314 Albert Street - P.O. Box 89, ASSOCIATION (ISFA):, NATIONAL BRANCHES East Melbourne (Victoria) - 3002.Secretary (Ad- ministration): Mr. L. G. Wilson, Officer in Charge; ISFA is a non-profit-making and non-governmental Film Unit:, Mr. Stanley T. Evans. organization, which groups the national associations representative of the scientific film movement of AUSTRIA various countries.It was constituted in 1947 at a meeting in Paris attended by representatives of Bundesstaatliche Hauptstelle fur Lichtbild and many countries and of Unesco.The Association Bildungsfilm, Abteilung wissenschaftlicher Film, was created "in the belief", as is stated in the Pre- 5 SchOnbrunnerstrasse 56, A - 1060 Vienna. Di- amble to its Constitution, "that international co- rector: Dr. Dankward G. Burkert. operation in the field of science must contribute increasingly to the maintenance of peace between BELGIUM nations and to the well-being of mankind, and that in such co-operation the cinema has a major role Institut national de cinematographie scien"flque, to fill.The members of the Association are per- 31 rue Vautier, 1040 - Bruxelles.Director. Mr. suaded that all those methods" (research, teaching Alan Quintart. and the dissemination of scientific knowledge) "by which cinematography can assist in the increase of BRAZIL human welfare through the application and development of science should be more earnestly and more Institute Nacional de Cinema, Praga da Republica, widely pursued". 141 - A - 2e andar, Rio de Janeiro.President Since then, ISFA has stimulated the forming of Mr. Ricardo Cra.e Albin. national scientific film associations in a number of countries and developed practical procedures for BULGARIA furthering its main functions, which are:"The freest, widest and most efficient exchange of:in- Popular Science Films Studio. 9 Boulevard Biruzov, formation about production, the use and the effect of Sofia.Director: Mr. Tontcno Tchoukovsky. all types of scientific films; films themselves and cinematic material; the personal experience, skills CANADA and ideas of workers in scientific cinematography" Each year, it organizes in a different country Canadian Science Film Association, c/o Mrs. J. an international congress and festival where selected Winestone, Canadian Education Association, 252 films are presented and specialized papers are Bloor Street West, Toronto - 5 - Ontario. read. In addition, the specialized sections (research, CZECHOSLOVAKIA higher education, popularization of science) hold meetings in the course of the year. Czechoslovak Scientific Film Association, at Headquarters: 38 Avenue des Ternes, 75 - Czechoslovak Academy of Sciences, Zahradnikova Paris 17. 28, Brno. The following information is in the form supplied by ISFA. FRANCE ARGENTINA Institut de cinematographie scientifique, 38 Avenue ies Terms, 75 - Paris 17.PresidentDr. Ber- Investigaciones Cinematograficas de la Universi- nard Vallancien.Director: Mr. Jean Painleve. dad de Buenos Aires, Peru 222, Buenos Aires. Director: Mr. Aldo-Luis Persano. FEDERAL REPUBLIC OF GERMANY AUSTRALIA Institut fir den wissenschaftlichen Film, Nonnen- stieg 72,34 - Gottingen.Director: Professor Commonwealth Scientific and Industrial Research Dr. Ing. Gotthard Wolf.

57 DEMOCRATIC REPUBLIC OF GERMANY SPAIN

Nationale Vereinigung ftlr den wissenschaftlichenFilm A ssociaci6n espanola de Cine cientifico, in der DDR, Alt Newawes 116/118, 1502 Patronato - Pots- "Juan de la Cierva", Serrano 150,Madrid 2, darn Babelsberg.PresidentProfessor Wolfgang President: Mr. Guillermo F. Zuniga, Bethrnann. UNION OF SOVIET SOCIALIST REPUBLICS HUNGARY Association of Filmmakers of the USSR, National Hungarian Committee, Magyar Film Vass iliev- es eskaya 13, Moscow. President of the BoardMr. MtIveszek Szevetsege, Gorkij Faser 38, Budapest Lev Kulidzhanov. VI,President Mr. Agoston Kollanyi, UNITED KINGDOM OF GREAT BRITAIN ISRAEL AND NORTHERN IRELAND Israel Scientific Film Organization, P. O. B. 7181, The British Industrial and Scientific Film Jerusalem. Chairman: Dr. E. L. Ruppert. Asso- ciation, 193/197 Regent Street, London W1R 7WA. Director: Mr. Keith Bennett. ITALY UNITED STATES OF AMERICA A s s oc iaz ione Italiana de Cinematcgrafia Scientifica, Via Alfonso Borelli 50, Rome, President:, Pro- American Science Film Association,7720 Wiscon- fessor Alberto Stefanelli, sin Avenue, Bethesda, Maryland 20014, President: Mr. Donald A. Benjamin. JAPAN URUGUAY The Japan Science Film Institution, 2-1 Surugadai Kanda, Chiyoda-ku, Tokyo, Head Director: Dr. Associaci6n Uruguaya de Cine cientifico,Juan L. Sinitiro Tomonaga, Executive Director: Mr. Sakui- Cuestas 1525, Montevideo.President: Mr. Re- chiro Kanzawa, member Capri°. General Secretary Mr. Dassori- Barthet, PEOPLE'S REPUBLIC OF KOREA

Korean Scientific Film Association, Pyong Yang, Corresponding Members

NETHERLANDS CUBA

Netherlands Scientific Film Association, Henge- Professor Nicolas Cossio, Ministerio de Educa- voldstraat 29,Utrecht,Secretary:, Dr, R. L. ciOn, DirecciOn Nacional de Extension Cultural Schuursma. 36 - 4708, Mariano (13), Havana,

PHILIPPINES MEXICO

The Scientific Film Association of the Philippines, Mr. Galdino Gomez Gomez, Director de la Cine- c/o National Science Development Board,P.O,, Box 3596, Manila, mateca Mexicana, Instituto Nacional de Antropo- Executive Secretary: Mr. logia e Historia, Departemento de PromociGny Mauro L. Gonzales, Diffusion, Cordoba 45, Mexico 7 D. F. POLAND SWITZERLAND Polish Scientific Film Association,Al.Ujaz- Mr. Rene Schacher, Communaute d'action dowskie 45, Warsaw. President. Professor Jan pour le developpement de l'information audio-visuelle,10, Jacoby. Avenue d'Epenex, 1024 - Ecubiens (Vaud).

ROMANIA VENEZUELA Studio Cinematografic Alexandru Sahia, B-dul Dr. Marcel Roche, Director of the Venezuelan Aviatoriler 106, Bucharest.I. S.F. A. Delegate: Mr. Ion Bostan. Institute of Scientific Research, Ministry ofHealth and Social Assistance, Apartado 1827,Caracas.

58 Annex C CHILDREN'S FILM CENTRES AND PRODUCTION

This Annex consists of CA NA DA Part International Centre of Films for Canedian Centre of Films for Children, 1762, Children and Young People (ICFCYP): Carling Avenue, Ottawa 3, Ontario. National Members CZECHOSLOVAKIA The Centre was constituted in 1957 under the aus- pices and with the financial support of Unesco, its Ceskoslovenske Stredisko Filmu pro Mladez, essential object being according to its Statutes "to Halkova 11, Prague 2. ensure permanent co-ordination in the field of films suitable for children and adolescents whether spe- DENMARK cially or not specially produced for them ". It seeks to contribute to the aims of Unesco (understanding Det Danske Barnefilmnaevn, Vestergade 27, D 1456, between peoples, respect for the human rights of Copenhagen K. adults and children, and non-discrimination on the ground of race, language or religion) through the FINLAND media of films and television. Besides the centres listed below, eleveninter- Elokuva-ja televisickesvatuksenkeskun, cfo Man- national bodies are in membership of ICFCYP. nerheim-liitto, Box 53143, Helsinki 53. Headquarters: 92 A venue des Champs -Elysees, 75 - Paris 8. FRANCE Administrative services: 111 rue Notre -Dame - des-Champs, 75 - Paris 6. Centre Francais du Film pour la Jeunesse, 109 rue The information given hereafter is in the form Notre-Dame-des-Champs, 75 - Paris 6. supplied by ICFCYP. DEMOCRATIC REPUBLIC OF GERMANY Part The Production of Films for Children and Young People Nationales Zentrum fUr Kinderfilm and Fernsehen der D. D. R. , Otto-Nuschks Strasse 51, 108 Berlin. This note describes, among things, the work of some of the national centres affiliated to ICFCYP. HUNGARY Hungarian Committee for Films and Television for Part I:National Members Children and Youth, Gorkij Fasor 38, Budapest VI.

AUSTRALIA IRAN Australian Council for Children's Films and Tele- Iranian Centre for Films and Television for Chil- vision, University of Tasmania, Box 252 c, G. P.O., dren and Youth, Avenue Bahar 10, Teheran. Hobart, Tasmania. ISRAEL AUSTRIA Kolos Lanoar, Israel Centre of Films for Children Aktion - Der gute Film, F.O.B. 208, A 1071 Wien. and Youth, 41 Nordau Boulevard, Tel-Aviv.

BELGIUM ITALY Centre national beige du film pour la jeunesse - Centro Nazionale del Film per la Gioventd, Via Delgisch National Centrum voor Film en Jeugd, Torino 98, piano IV, int. 14, I Roma. 300 rue Royale, B-1000 Bruxelles.

59 NETHERLANDS (b) films specifically produced for such audiences. lnstituut Film en Jeugd, Overtoom 301, NL- Films in categoiy (a) greatly outnumber those in (13). Amsterdam X. Indeed the International Centre of Films for Children and Young People (IC FCYP) pointed out in 1968 that NORWAY the supply of films conceived and made primarily for showing to children and young people was (and, one Norsk Barnefilmnamd, Sommerrogt, 15 N-Oslo. may add, still is) totally insufficient to meet market requirements. For this reason, no mentionwas ROMA NIA made of (b) above in the definition of the film for children and young people published by ICFCYP at that Romanian National Committee for Films for Chil- time, but which described it as a film of whatever dren and Youth, 65 Bd Gh. Gheorghiu Dej,sec. I length or gauge considered to be suitable for children (House ACIN), Bucharest. and young people. (1) The distinction between the two types can of course be crucial for legal and fiscal SPAIN purposes. In practice, it is difficult to frame legislation or conventions to fit in with definitions based Centro Espanol de Cine para la Infancia y la Juven- on suitability and on abstract qualities while the film tud, San Quintin 1, 2° - Madrid 13. specifically made for juvenile audiences presents few such difficulties. The present note is about the SWEDEN production of the latter sort of film. The most useful document from an international Barnfilmkommitten, Sveavagen 23, S-111 34 point of view available on the production of films Stockholm. for children is to be found in the report compiled in 1966 by Karel Morava for IC FCYPon Cinema SWITZERLAND for Children in the World. Based on replies from nine countries to a questionnaire, this report deals Sehweizerische A rbeitsgemeinschaft Jugend .und also with distribution and research in its field. Film - Communaute Suisse de travail, jeunesse et The countries approached - Czechoslovakia, Den- film, Seefeldstrasse 8, CH-Zerich 8. mark, Finland, German DemocraticRepublic, Japan, Norway, Poland, USSR, Sweden and India UNION OF SOVIET SOCIALIST REPUBLICS (which did not participate in the inquiry)- were presumably those known to produce films specially Commission for Cinema for Children, Vassiliev- for children.In any case, this type of production skaia 13, Moscow-D-56. seems to be carried on in relatively few countries. Though some of the data in Mr. Morava's report UNITED KINGDOM OF GREAT BRITAIN are out of date, it provides a good general picture AND NORTHERN IRELAND of children's film production which is,one gathers, still reasonably valid.This 1966 report is indeed National Centre of Films for Children, 6-10 Great along the lines of the monographs that the IFTC Portland Street, London W1N GJN. meeting in April 1971 suggested might be pursued, in respect of particular types of institution andan UNITED STATES OF AMERICA up-dated study on the subject would be welcome. The making of films for children is not,gen- California Center of Films for Children, 154, Pico erally speaking, an economically viable kindof Boulevard, Santa Monica, California. production because, among other things, the audience is a limited one whose members pay less than North East Film Center for Children, c/o Interna- do the ordinary film-goers and other marketfac- tional Institute of Boston, 287 Commonwealth Ave- tors, including export potentials, are not favour- nue, Boston, Mass. 02115. able.Budgets for such films, especially features, are usually modest. Mr. Morava gives the follow- YUGOSLAVIA ing interesting table of production costs in 1966in hundreds of dollars (see table below). "Film and Child" Commission, Mose Pijade12/IV, Belgrade. (1)The full definition reads: "A film whatsoever its footage and gauge is held to be suitable for children and young people when it is within the Part The Production of Films for Children capacities of juvenile audiences and when by and Young People reason of its recreational, educational, esthetic and other qualities,it can contribute to- It is essential to distinguish between wards developing and instilling a respect for (a) films suitable for juvenile audiences; and individual human personality".

60 PRODUCTION COSTS OF CHILDREN'S FILMS

Countries Films With actors Shorts Documentaries Cartoons Puppets (2 minutes)

Great Britain 60- J 1,4-42 84 0,5 Czechoslovakia 40-100 1-5 5-10 6-10 Denmark 100 15 25 25 Finland 80 Japan (colour films) 180 15 20 28 Norway 55-65 10-30 18-20 USSR 220-330 28-34 66 56 Sweden 160 15-25 (Of the above from all countries 250 in colour)

In those of the countries mentioned which have ICFCYP. The films produced by CFF are made in market economies, the specialized production of the commercial studios and despite limited budgets films for children has, for reasons given, usually have attracted the directorial skills of such leading been supported by some form of aid, eitherby sub- British talents as the late Richard Massingharn, sidy from public funds or from industry sources. John Krish and Pat Jackson, and on the international The financing of the production of films for children side, Alberto Cavalccanti. in the socialist countries does not differ from that The production of children's films in the USSR for film production generally along the lines indi- is a long tradition, going back to 1919. A part from cated in Professor Toeplitz's description of the this, the USSR provides one of the rare instances Polish cinema in the main body of the present survey. (the other notable case being that of Japan) where Among examples of the production of children's special production studios for children's films have films in the former type of country, one of the best been set up.The Central Studio for Chilaren's known is that found in Britain.Production there Film in Moscow (with its subsidiary at Yalta) has, began in 1945 and was based on a particular kind of of course, made many examples of this genre of children's weekly film performances or matinees film, some of them outstanding. (usually given on Saturday mornings). These ma- Of production in another socialist country, tinees go back a great many years and were in the Czechoslovakia, Mr. Morava provided the follow- 1930's the subject of one of the first books about ing account at first hand of the situation up to 1966 children and the cinema by Richard Ford. To provide suitable fare for the matinee audiences, the "After the war, when cinematography was na- Rank Organisation began the production of enter- tionalized, attempts were made by several studios tainment films for children, througha separate de- to make more films of the kind.The high point partment under a leading pioneer, the late Miss was reached in 1955, when a special studio was Mary Field.,The first of these films was actually set up for the production of children's films. Al- made in 1944.The Rank children's entertainment though this studio is no more in operation (es- department continued to make films until 1959, by pecially because it had not been possible to gather which time fifteen feature films had been produced. into it the different types of production such as However, in 1951, a new all-industry body came cartoons, puppets, alms with actors and docu- into being called the Children's Film Foundation mentaries),its existence had nevertheless Ltd. and its output more than quadrupled the annual awakened the interest and favoured production. rate of domestic production of children's films. The A specialized production group was formed at Children's Film Foundation Ltd. (CFF) is, as we the Barandov studio.In 1960, another group, saw, the recipient of an annual grant from the so- employing actors, started work at Gottwaldov called Eady money derived from the industry itself. (previously animation films for children had al- The Foundation is governed by a Board on which all ready been created in these studios, mainly by branches of the commercial film industry are rep- Hermina Tyrlova and Karel Zeman). Such films resented. The chief executives of the Foundation, , are also being produced now at the Bratislava all of them experienced film-makers themselves, studios.Presently, films for the young, with have been Miss Mary Field, succeeded by Frank actors, are released by the studios of Prague, Wells, the son of H. G. Wells, and for some years Bratislava and Gottwaldov.Shorts are made in now, Henry Geddes, the current President of the various studios dealing with that kind of films.

61 It is a relatively independent activity.All the children is decided by a committee or a special studios and undertakings form one producing and organization, the procedure is similar. In Den- economic unit:"Ceskoslovensky Film" (which mark, all films with actors are made and also also includes distribution and export and import controlled by the production company.When a of films ,-the film industry, etc. ).The financial subvention is solicited from official quarters, the responsibility of the children's film production script must be approved by the Danish Children's thus rests with "Ceskoslovensky Film", which Film Council." apportions a sum - not determined in advance- paid out of the total financial resources." The only recent comparative table of the sizeof children's film production in various countriesis In the Scandinavian countries, the scriptstage is once again that given in the same report from which especially important for children's filmsas it is for we learn that in 1965 the number of feature films other films benefiting from the systems of aid in produced were: Japan, 6; USSR, 14;Britain, 4 + Denmark and Sweden, described in the main body 2 serials; Czechoslovakia, 5; Germany (Democratic of the present survey. But the following noteson the Republic of), 4; Poland, 4; Sweden, 8; Norway, 1. situation in Norway and Denmark from the ICFCYP The ju venile audience is obviously an important 1966 Report are worth noting: one.Experience has shown that it can be catered for successfully but this calls for specialmeasures "In Norway, for example, whena producer wants and special policies which should be encouraged. to make a film thanks to a special State-granted For increase in the production of good children's subvention - eventually partial - he prepares the films is also important internationally. Suchfilms script and the production programme.He sub- represent one of the most effective, far-reaching mits the documents to the Ministry of Education, and long-term means for promoting mutual under- two specialized advisers study the documentsand standing between peoples. express their opinion. The Ministry thendecides The impact of such new techniques as video- to grant or not a subvention. When the producer cassettes on children's film production hasyet to can do without such support (as was the case for be assessed but it should, one imagines, increase the films "Stompa of course" and "Stompa falls distribution outlets for such films and renderthem in love"), it is sufficient to obtain the agreement more viable. The video-cassette is bringing to- of the State Committee for Film Production,to gether the interests of audio-visual productionand benefit from the usual State advantages granted that of another industry which is highly significant to film producers (ready for production).It is and apparently very successful- the production of only at the stage of the script that the Norwegian books for children. Both children's literature and State takes a decision. The producer granteda children's cinema, which both have much incom- subvention is entirely free with regard to shooting. mon, should greatly benefit in the long run from In countries where the production of films for new patterns of communication now emerging.

62 Annex D SCOPE IN ANIMATION TODAY

by John Ha las OBE FSIA Hon BKSTS

(The author is the President of the International Council of Graphic Design Associations (ICOGRADA)and Vice-President in charge of Publications and Film Circulation of the Association internationale du film d'animation (ASIFA))

Although it is a small section of the overall film result today is that several thousand schools, col- industry, animation is a medium which is constant- leges and universities have the equipment to make lycreating new ideas, style and unusual forms to their own films. a far greater extent than in other film-making Secondly, the production of animated film has techniques. become universal, while just before the war it was Because of the flexibility of frame-by-frame regarded as an activity confined mainly to Holly- development which enables the artist to be in con- wood studios. Here it is essential to emphasize trol of the medium on an individual basis, it is a the role played by the Association internationale more immediate form in which to experiment. As du film d'animation (ASIFA). the creation of motion is the essence of animation This A ssociation, which represents the world's whether achieved through frame-by-frame progres - leading artists, producers, writers and critics in sion, camera mobility, manipulation of light ef- the field of animation from 28 countries, was formed fects or computer programming,it can easily during the 1959 Cannes Film Festival.Its founder maintain a pure art form which comes closest to members were John Hubley (U.S.A. ),Pierre kinetic movement. Film mobiles, or moving graph- Barbin (France), Professor Ezio Gagliardo (Italy), ics in the form of film animation, still require the Paul Grimault (France), Jurica Perusovic (Yugo- conventional screen and projection for their presen- slavia), Vojen Masnik (Czechoslovakia),Ion tation, but it will very likely be the first visual Popescu-Gopo (Romania), Ivan Ivanov-Vano(USSR ), form which amateurs, students and professionals Norman McLaren (Canada) and myself. The im- will be able to use for self-expression, by creating mediate aim was to raise the standards of anima- their own instant images through computer term- tion (especially in countries where, due to insuf- inals and video recording, rather like playing a ficient exposure, animation was unable to develop musical instrument. at a great speed) and to propagate an appreciation However, for the time being the animated film of animation as a means of adult communication. industry depends largely on the sponsorship of large These aims were to be achieved by staging companies; this consists of commissioned films in film festivals and through the encouragement of pub- the form of television commercials, entertainment, lished articles and books about the creative aspect industrial training and public relation films. In of animated cinema. The Association has already Western Europe and the United States of America, organized nine world film festivals in Annecy, the entertainment cartoon of the type which made Mamaia and Zagreb. Walt Disney's name famous has practically dis- Today ASIFA has added the work of education appeared, but inEastern nations the disappearance of a new generation of artists, and international is more gradual. circulation of films, bibliography, archives and Television has more than compensated for the cataloguing of animated films. Also as a conse- lost market, although from the aesthetic point of quence of the Association's influence, a substan- view it naturally doesn't offer the same opportuni- tial exchange of talent has also taken place. ties. Apart from the continuous flow of avant-garde During the last five years national groups of and experimental animated films which are increas - the A ssociation have been formed in most countries ingthroughout the world, three significant develop- through which contact with the individual artist has ments can be observed in this decade. been made possible. Firstly, the interest of the young generation The third significant development is the use in animation as a form of self-expression. Art and of animated film in education. There is no doubt design colleges, as-well as many middle schools, that a carefully planned educational film is a valu- teach film animation in their art lessons. The dis- able aid to efficiency and clarity in teaching by cipline of combining story development with camera its ability to simplify down to their basics, pro- techniques, and the production of moving drawings cesses which in reality are too complex, too fast, have engaged the pupils and teachers alike and the too slow or too concealed to be seen clearly when

63 photographed inlive action. tilt- refore likely that the c ombination of the twobasic The element of design and style through the approaches, verbal and visual, may make itself use of good graphics in an educational film can be felt especially if a greater number of inexpensive itself an aid to memory and it is importantthat the projectors can be made available for schools. direct relationship between visual presentation of Encouraging as it was to experience the first facts and figures and their retention in the memory breakthrough of the 8mm cassette loop films,the is considered from the outset. real application of visual orientated school There is currently a dramatic breakthrough education is still in the future. In a few years' timemo- for animated films, especially designed forthe classroom. bile visual illustrations in the form of filmcom- The wide use of 8mm cassetted bined with printed text is bound toemerge as stand- loop films in the U.S.A. and Great Britain points ard practice in teaching. The the way ahead despite the fact that scope of the film so far only 5% market in this field is already relevant. Theoppor- of middle schools use it. These specially produced tunities for the animator to contribute his special- teaching films are now used as a normal aidto ized talent can be most significant. teaching in the classroom, clarifying and fortifying The development of computer generated by visual means lessons in chemistry, ani- biology, mated films in the U.S.A. and Western Europeis physics and mathematics, makingprocesses more another fact. This new technique will bring about easy to memorize than did the old methods which economy in production speed and clarity of expres relied on textbook illustrations and conventional - use of the blackboard. sion in mechanical subjects especially inmathe- matics and space science. A great number ofcom- Film, especially animation which ismore adap- puter films have been made during 1972 whichare table and flexible, as a teaching tool, isundoubtedly full of promise in bringing new dimensionsto the vital in modern educational technology. Thereis fore, which are beyond the capacity of hand anima- still the conservative attitude of authoritiesin tion,and new visual effects which can only be charge of educational policies as wellas the older created by the computer. generation of teachers to overcome, whichresists In spite of the small number (thereare only breaking away from the printed textas the sole teaching medium. 7, 000 animation artists throughout the world), ani- In this respect vast numbers mation's creative contribution to visualcommuni- of students are ahead of the teachingprofession cation is valuable on both the sociological and and their attitude may bring aes- some influence for thetic level and the industry is looking forwardto even wider acceptance of film for teaching.It is an expanding and exciting future.

64 Annex E NEWS FILM ORGANIZATIONS

INTERNATIONAL NEWSREEL ASSOCIATION AUSTRIA (INA): NATIONAL MEMBERS Austria Wochenschau, Austria WochenschauGmbH, The Association was founded in 1957 as a non- Siebenstern-gasse,19, 1170 Vienna.- Director: profit-making organi:-.tion grouping the newsreel Mr. Joakim Senekovic; Director & Editor-in-Chien publishers of different countries whose aim,ac- Mr. R. Tupy cording to its Statutes is, "the defence of the professional rights and interests common to its mem- BELGIUM bet, in the. full exercise of freedom of information and in a spirit of international co-operation". Ac- Belgavox,Actualites Belgavox, 10 rue de la tion points include organizing international report- Riviere, Bruxelles. Director: Mr. Pierre Fannoy; age pools on subjects of common interest,co- President: Mr. Georges Fannoy;Editor-in-Chief: operation with Unesco and the IFTC, and organizing Mr. Guillaume Dooms in a different country with INA members each time, meetings of two sorts:assemblies of newsreel BRAZIL publishers and forums of newsreel elitors- in-chief. Membership is open to producers. or associa- Teleobjetivo, Ipanema Filmes Ltda, Rua Senador tions of producers, of newsreels which distribute De.ntas 117,10° Andar, Rio de Janeiro. Director: at least once a week a newsreel or cine-magazine. Mr. Roberto de Farias Registered office:Geneva Secretariat:6 rue Francoeur, 75-Paris 18 BULGARIA The information which follows is in the form supplied by INA. Kinokronika, Kinokronika, Gurko Str. 52, Sofia. Editor-in-Chief: Mr. Kostadin Nikolov; Foreign Service: Mr. E. Herchkovitch CINEMATOGRAPHIC INSTITUTIONS COLOMBIA (N. B. The name of the newsreel comes first, followed by the name of the producing organization. ) Actualidad Panamericana, Pan American Films Ltda,Carrera 6-A-No. 48-A-47,Bogota D. F. ALGERIA Directors: Sr. Alvaro Escallon Villa, Sr. Gregorio Espinosa; Editors-in-Chief: Sr. Gregorio Espinos Les Actualites Algeriennes, Office des Actuante& and Sr. Rafael Velez Pareja; Foreign Service: Sr. algeriennes, 37 rue Larbi Ben M'Hidi,Algers. Alejandro Sodas Director-General:Mr. Mohammed Lackjdar Hamina CZECHOSLOVAKIA

ARGENTINA 6eskoslovensll filmovY tfdenilt, Zpravodajskf Film, Kfifeneckeho 322, Prague-Barrandov. Noticiero Argentina,Sucesos Argentinos, Rio Editor-in-Chien Mr. Jiff Svoboda, Foreign Ser- Samba 250, Buenos Aires. Director: Sr. Antonio vice: Mrs. Maria Drlitekova Angel Diaz; Editor-in-Chief: Sr. Hector Ibarra; Tyzoen vo. Filme, Spravodajsky Film, Stefani- Foreign Service: Sr. Tadeo Bortnowski kova 10, Bratislava. Director: Mr. Stefan Malicek Sucesos Argentinos,Noticiario Panamericano (Mostova ul. 6 Bratislava); Editor-in-Chief: Mr. S. R. L. , Ayucucho 490, Buenos Aires. Director: Stephan Buina;Foreign Service:Mrs. Yvon Sr. Adolfo Rossi, Editor-in-Chief: Sr. Jose Juan Monoszloy Rodriguez Pendas Argentina al dia & E. P. A. , Lowe S. R. L. Argentina DAHOMEY al dia, Bme Mitre 1971, Buenos Aires. Directors: Dahomey Magazine, Societe dahomeenne cinemato- Mr. Helmutt Simons and Mr. Manuel M. Alba; graphique, SO. DA. CI.,B. P. 49,Porto Novo. Editor-in-Chief: Mr. S. Rives Director: Mr. Pierre Ahidote; Technical Manager: Mr. Pascal Abikanlou

65 FRANCE KENYA Fox Actualites,Fox Movietone News, 48 Quai The Voice of Kenya, Department ofInformation. Carnot. 92 - Saint Cloud. Director: Mr. Jack Muth; Ministry of Information & Broadcasting, Editor-in-Chief: Mr. Charles Meunier Jogoo HouseP. 0. Box 30025. Nairobi. SeniorAssis- Gaumont - La Revue du Monde, Societed'Informa- tant Secretary: Mr. Frederick A.Njenga tions cinematographiques Gaumont, 1 Quai Gabriel Peri, 94 - Joinville-le-Pont. Director:Mr. A. ITALY Svobada,Editors-in-Chief:Mr. P.Ceria and Mr. G. Haas Corona Cinematografica, CoronaCinematografica, Via Cesalpino 12, Rome. Director: Faille Magazine - Regardssur le Monde, Professor S. N. Ezio Gagliardo;Editor-in-Chief:Mr. Gaetano Pattie Cinema - Pathe Journal, 6rue Francoeur, Lazzati 75 - Paris 18. Director: Marcel Lathiere, Editors- in-Chief: Mr. Henri Champetier and Mi.Michel MEXICO flonorin;Foreign Service: Mrs. D. Sommer Noticiero Continental, Cinematografica FEDERAL REPUBLIC OF GERMANY America Unida S. A., Plaza de los Esrrocatriles3, Mexico City. Director-Administrator-General:Sr. Hernan- UFA DABEI, Deutsche Wochenschau GmbH,Sieker dez Bravo Fernando Landstrasse 39 a, 2, Hamburg 73. Director:Dr. H. Wiers; Editor-in-Chief: Mr.Gunther Schnabel; Cine Periodico Nicoly- Producciones Nicoli S., Foreign Service: Miss Christiane Luders Privada de Cuauhtemoc No. 10, SanJeromino Buick in die Welt, Deutsche Filmwochenschau GmbH, Lidice, Mexico 20, D. F. Director andEditor-in- Blick in die Welt, (Headquarters) Victoriastr. Chief: Sr. J. Antonio Nicoli S. 16-18, I, Berlin-Tempelhof. Director:H. Hans MOROCCO Dieter Volkmann; (Administration)Rheinstrasse 24, Frankfort-Am-Main. ManagingDirector: Dr. Les Actualites Marocaines, Centre Holland, Mr. Colin-Reval; (Editorial Cinematogra- and Foreign phique Marocain, 85 Zankat MoulayIsmail, Rabat. Service) 62 Wiesbaden Erbenheim.Editor-in-Chief: Mr. Heinz Salomon Director of the Centre: Mr. MohamedZiani, Head of Newsreel Service: Mr. MohamedAbderhamanne Tazy Fox Tonende Wochenschau, Fox TonendeWochen- _ schau GmbH, Tiirkenstrasse 89, Munich13. Direc- tors: Mr. J. Muth and Mr. Hans Lipp NETHERLANDS

GERMANY (DEMOCRATIC REPUBLIC) Neerlands Nuews and Wereldnieuws,Polygoon Nv. Filmfabriek, Steynlaan,5, Hilversum. Director: Der Augenzeuge, Veb. Defa Wochenschau,Otto Mr. Pieter M. Buis;Editors-in-Chief: Mr. Nuschkestrasse 32,108,Berlin.Director:Mr. Philippe Bloemendal and Mr, MekleMieke Olman Heinz Misch; Editor-in-Chief: Mr.Werner Artiste; Foreign Service: Mr. Herbert Hackenbeck,Frl. PERU Neumann Noticiero Sucesos Peruanos, SucesosPeruanos S.A., GREECE Jr. Union 284, Edificio Pizarro, Off. 56,Lima. Managing Director: Sr. Franklin Urteaga Les Actualites Grecques, Ministry of the Presi- dency of the Council, Directorate-General of the PHILIPPINES Press, Film Department (Visual Media), Zalocosta No. 1, Athens. Director: Mr. Anastasio Dimopoulos; Mirror of the Philippines, MultimediaOrganiza- Editor-in-Chief: Mr. Martalos tion, 3rd Floor, Chamber of CommerceBuilding, Intramuro, Manila D. 406. Director: Mr.Ernesto HUNGARY A. de Pedro

Magyar Filmhirado, The Hungarian Newsreel& POLAND Documentary Studio, Kbnyves KalmanKorUt 15, Budapest IX. Director of the Studio:Mr. Tibor Polska Kronika Filmowa, Documentary Films Ormos; Director and Editor-in-Chief:Mr. Andor Studio, Film Polski, Chelmska 21,Warsaw. Di- Gybrgy Ajyai,Foreign Service:Mrs. Marcia rector:Mr. M. Burba; Editor-in-Chief:Mr: Kakody Michael Gardowski

66 PORTUGAL UNION OF SOVIET SOCIALIST REPUBLICS

Actualidades Portuguesas, Producoes Cinemato- Novosti Dnia,Sovkinokhronika,Likhov. per.6, graficas, Francisco de Castro, Rua Damasceno Moscow. Director: Mr. Alexei Semin; Editor and Monteiro 9.4°. D°, Lisbon. Director: Mr. Francisco Foreign Service: Mrs. Alla Kondratieva de Castro; Editor-in-Chief: Mr. Victor Barbosa UNITED KINGDOM OF GREAT BRITAIN AND ROMANIA NORTHERN IRELAND

Saptamina in Imagini,Studioul Cinematografic Movietone News,British Movietone Ltd. ,North AlexandruSahia, Bul. Aviatorilor.Nr. 106, Bucarest. Orbital Road; Benham, Near Uxbridge, Mid.Di- Director: Mr. Vasile Rachita; Editor-in-Chief: rector:Mr. E.A. Candy, Editor-in-Chief:Mr. Mr. Jos if Sas; Foreign Service: Mrs. Nedov Araxi Peter Hampton; Foreign Service: Mr. W. McGuire

SPAIN VENEZUELA NO -DO, Noticierios y Documentales No-Do, Viajando cor Polar, Compania Espectaculos del Avenida Joaquim Costa 43, Madrid VI.Director: Este Cedesa, Edificio Polar, r Piso, Plaza Vene- Sr. Rogelio Diez Alonso; Editors-in-Chief:Sr. zuela, Caracas. Director: Sr. Domingo Coronil Luis Figuerola-Ferretti and Sr. Joaqui.1 Estebal Perruca; Foreign Service: Sr. Guillermo Sanjuan Noticiero Nacional, Bolivar Films C.A., Edificio Bolivar Films, 1. Santa Edwigis (Apartado Postal SWITZERLAND 786). Caracas. Director-General:Sr. Guillermo Villegas; Director & Editor-in-Chief: Sr. Victor J. Cind Journal Suisse, Cind Journal Suisse, 8 rue de Linder; Editor-in-Chief: Mr. Ramiro Vegas Hesse, Geneve. Editor-in-Chief: Mr. Herrmann Noticolor, Cinesa, Edificio Bolivar Films, 1 Ave- Wetter nida Santa Edwigis, Caracas. Director: Sr. Ernesto de Oteyza; Editor-in-Chief: Sr. Luis de Oteyza TUNISIA YUGOSLAV 'A Les Actualitds Tunisiennes, S. A. T. P. E. C.,Les Actualitds Tunisiennes, 10 rue Ibnkhaldoun, Filmske Novosti, Filmskih Novosti Centralni Director of the SATPEC: Mr. Hamadi Essid; Head Studio, Bulevar Vojvotde Misica, Belgrade. Direc- of Newsreel Service:Mr. Hamouda Benhaxlma: tor:Mr. Samuilo Amodaj; Editor-in-Chief: Mr. Editor-in-Chief: Mr. J. Meddeb Sima Karaoglanovic

67 Annex F CINEMATOGRAPHIC TECHNICAL ASSOCIATIONS

INTERNATIONAL UNION OF CINEMATOGRA- Interkamera - Centre for International Co-opera- PHIC TECHNICAL ASSOCIATIONS (UNIATEC): tion in the Field of Audio-Visual Engineering and NATIONAL MEMBERS Art, Konvitskg 5, Praha I

The UNIATEC was constituted in 1957 at the Third DENMARK International Congress on Film Techniques in War- saw, its aims being defined as: (1) to develop the Den Danske Sotktion Nordisk Film og Gjernzynsun- corporate spirit and co-operation among its mem- ion, Statens Filmcentral Vestergade 27, bers; (2) to encourage international co-operation Kobenhavn K in film techniques by the exchange of information FRANCE and, more particularly, by the organizing of In- ternational Colloquys and by reciprocal visit of Commission superieure technique (C. S. T. ), 92 technicians from the various countries; (3) toen- Champs- Elysees, Paris 8 courage the setting-tip of national associations of film technicians in the countries where these do GERMANY (Democratic Republic) not yet exist;(4) to encourage studies for the advancement of film techniques, and to support any Wissenschaftlich- technischer Beirat des Filmwesens efforts undertaken in the direction of standardiza- der DDR, DEFA Zantralstelle far Filmtechnik, tion. Gross- Barliner Demn. '1, 1197 Berlin Johannisthal The Union is open to all associations (or specialized sections of associations) of film techni- HUNGARY cians whose aims are confined to work and discussion of a technical nature. ,`ptikai Akustikai es Filmtechnikai Egyesulet, VI Secretariat: 92 Champs- Elysees, 75008 Paris, Ankerkaz 1, Budapest France. The information given hereafter is in the form ITALY supplied by UNIATEC. Associazione tecnica Italiana per la cinematografia (A. T. I. C. ), Viale Regina Margherita 286, Rome BELGIUM KOREA (People's Republic) Commission superiere technique beige- Cinema- theque de Belgique (Siege social) 23rue Ravenstein, Union of Korean Film-Makers, Pyong- Yang Bruxelles 1, (address correspondence to):Labora- toire Dassonville, 135 rue Barthelot, Bruxelles 19. MEXICO

BULGARIA Sindicato de Trabajadores Tecnicos y Manuales de Estudios y Laboratorios de la Producch n Cinema- Institute for Scientific Research in Cinematography tografica, Versallss :Jum. 27, Mexico 6- D. F. and Radio, 2 rue Budapeste, Sofia. POLAND CANADA Filmowy Osrodek Dosciadczal;so Uslugowy (F. 0. D.U. ). National Film Board, P.O. Box 6100,.Montreal 3, Ul. Dominikanska 9. Warszawa 25 Quebec. ROMANIA CZECHOSLOVAKIA Associata Cineastilor din Republica Populara Ro- iJstrednireditelstvi filmu, Jindrigski 34 mina (A. C. I. N. ), Strs. Gheorghe Gheorgiu Daj 63, Praha 2 Bucarest 1 VSrzkumn; tistav zvukove, obrazovea reprodulanf techniky (V. U. Z. O. R. T. ),Plzeiiski 56, Praha 5 (Smichov)

68 SWEDEN Britain and Ireland, 22-25 Dean Street, London W.1 Svenska Filminstitutet, Borgvggen 1 - Box 27126, 10252 Stockholm British Kinematograph, Sound and Television So- ciety ( B. K. S. T. S. ), 110-112 Victoria House, TUNISIA Varnon Place, London, W. C. I

Association des cineastes tunisiens, c/o Maison UNITED STATES OF AMERICA de la Culture, 16 rue Ibn Khaldoun, Tunis Society of Motion Picture and Television Engineers UNION OF SOVIET SOCIALIST REPUBLICS (S. M. P. T. E. ), 9 East 41st street, New York, N.Y., 100017 Union of Soviet Filmmakers, "Science and Techni- que" Section, 13 Vassilievskaia Street, Moscow YUGOSLAVIA Nautchno Isledoviatelsky Kino Foto Institut Jugoslavija Film, Knez Mihailova 19, Beograd O4I.I.K.F.1.)Leningradski Prospect 47, Moscow

UNITED KINGDOM OF GREAT BRITAIN AND NORTHERN IRELAND Cinematograph Exhibitors' Association of Great

69 Annex C NATIONAL. FILM SCHOOLS

INTERNATIONAL LIAISON CENTRE FOR CINEMA BELGIUM AND TELEVISION SCHOOLS (CILECT): NATIONAL MEMBERS The Director: Mr. Raymond Ravar, Institut National Sup &rieur des Arts du Spectacleet CILECT was founded during the Second International Techniques de Diffusion (iNSAS). Rue Theres- Meeting of Film Schools at Cannes in 1954. The ienne 8, 1000 Bruxelles. Centre aims to promote co-operation among higher A teaching institutions for film and television, and The Director:Mr. Rudi Van Vlaenderen, likewise among individuals experienced in these Hoger Instituut voor Toneel en Cultuurspreiding fields through the exchange of all kinds of experi- (R. I. T. C. S. ), Rue Therbsienne 8, 1000 ence between them.CILECT accords particular Bruxelles. As importance to co-operation with Unesco, and insti- The Rector: Mr. Vasteels, Institut desArts tutions such as the IF TC.It undertakes all forms de Diffusion (I. A. D. ), Avenue de Tervueren of co-operation with developing countries andseeks 15, 1040 Bruxelles. A to improve standards in learning and professional quality in the fields of culture, teaching, research. Mr. Victor Bachy, Professor- Director of the creation of techniques and languages, communica- Department of Social Communication, Centre tion and use of sound and image. The Centre is in- d' &tudes des techniques de diffusion (CETEDI). terested in the application of audio-visual techniques Universi & de Louvain, Van Ey, nstraat 2,3000 in education. Leuven. As The Centre has three types of membership: Active; Associate; and Corresponding. CANADA Secretariat:8 Rue Theresienne, 1000 Brussels, Belgium. The Director. Mr. John E. O'Brien;The Prin- The information that follows is in the formsup- cipal Professor: Mr. Miroslav Malik,Loyola plied by CILECT. College, Department of Communication Arts, 7141 Sherbrooke St. IV.,Montrea1262 (Quebec). (N. B. The following 2bbreviations at the end of each As entry mean: AActive Member; AsAssociate The Director: Mr. Jean Cloutier, Animateur: Member; C = Corresponding Member; Obs= Ob- server). Mr. Constantin C. Fotinas, Uni% ersit6 de Mon- treal, Centre audio-visuel, Case postale6128, Montreal 101. Quebec.As ARGENTINA The President: Mr. Henry H. Mamet, Educa- The Director: Mr. Enrique A. Smiles, Institute tion Television and Radio Association of Canada de Cinematograffa de la Universidad Nacionaldel (ETRAC), 252 Bloor Street W, Toronto 5, On- Litoral, Avda Salvador Cakutto 3353. Santa Fe. A tario.Obs.

AUSTRALIA. CZECHOSLOVAKIA

Mr. John Martin-Jones, Executive Officer,Austra- The Rector: Mrs. Marie BudiC'ovfi; Mr. Cere- lian Film and Television School, P.O. Box 245, muga, Dean of FAMU (Faculty of Film and Tele- Chats wood 2067. Obs. vision), Akademie Musickych ume'nf (AMU),Smet- anovonam 2, Praha 1. A The Director: Mr. Jo O'Sullivan. Perth Institute of Film and Tele% ision (P.1. F. T. ), 116 Grant DENMARK Street, Cottesloe, W. A. 6011.Obs. The Director, Den Danske Filmskole, St. SO- AUS' RIA dervolldstraede, 1419 Kkbenhavn K. As The Director. Professor Harald Zusanek. Hoch- EGYPT schule fur Musik und darstellende Kunstin Wien "Film und Ferns ehen", Lothringerstz.asse 18, Wien The Dean: Mr. Mohamed Dassiouny, Higher 1030.A Institute of Cinema, Pyramide Road- G 12 A Cairo. A 70 FINLAND JAPAN The Head of the Department for Camera Arts, Tai- The Head: Mr. Shumpei Watanabe, Professor det Collinen Oppilaitos, Kamerataitecn Osasto, Kai- Emeritus, Department of Art of the University of vokatu, 2-4 B, Helsinki 10. As Nihon, 2 - 42 Asahigaoka, Nerima-ku, Tokyo. A

FRANCE MEXICO President-directeur general: Mr. Leopold Schlos- The Director: Mr. Manuel Gonzalez Casanova, berg, Institut des hautes etudes cinematographiques Centro Universitario de Estudios Cinematograficos, (IDHEC), 92 Champs Elysees, 75008 Paris. A Universidad Nacional Autanoma de Mexico, Mexico. As The Director: Mr. P. Philibert, Ecole nationale superieure "Louis Lumiere" de la photographie, de la cinematographie, de la videonie et du son NETHERLANDS ("Vaugirard"), 85 Rue de Vaugirard,. 75006 Paris The Director: Mr. Anton Koolhas, Nederlandse A Filmacademie - Stitching Netherlands Film Insti- tuut, Overtoom 301, Amsterdam W 13:As FEDERAL REPUBLIC OF GERMANY The Director: Mr. Michl, Hochschule far Fernse- POLAND hen und Film, Prinzregenteplatz 12, Munchen 80 The Rector: Mr. Kotowski, Panstwowa Wyzsza A Szkola Teatralna Filmcva, Lodz. A The Director: Dr. Heinz Rathsack, Deutsche Film- und Fernsehakademie, Pommernallee 1, 1 Berlin 19. ROMANIA A The Rector: Mr. George Dem. Loghin, Professor GERMANY (Democratic Republic) Uni.I. A. T. C. ,Institute of Theatre and Cinema, B - Dul Schitu Magufeanu 1, Btrzarest. A The Dirchtor: Professor Dr. Lutz Kohlert, Hoch- schule fur Film und Fernsehen der Deutschen De- SPAIN mokratischen Republik, 1502 Babelsberg, Karl Marx - Str. 33/34. A The Director: Mr. Baena, Escuela Oficial de Cin- ematograffa, Ciudad Universitaria, Carretera de GREECE la Dehesa de la Villa, Madrid 20. A

The Director-General: Mr. Lycourgos Stavrakos, SWEDEN Ecole professionnelle des hautes etudes cinernato- graphiques, 65 Patission Street, Athens T 103. A The Director: Mr. Bertil Lauritzen, Dramatiska Institutet, Filmhuset, Box 27 090, 102 51 Stock- HUNGARY holm 27. A

The Rector of the Academy, Szinhaz - Es Filmmu- UNION OF SOVIET SOCIALIST REPUBLICS veszeti Foiscola, Academy of Fine Arts, Vas- Utca 2/G, Budapest VIII. A The Rector: Mr. Jdan, State Institute of Cinema- tography (V. G. I. K. ), Ulica Textilcilov I. B. , Mos- INDIA cow. A

Mr. D. N. Dixit, Director, Film Institute of India UNITED KINGDOM OF GREAT BRITAIN (Ministry of Information and Broadcasting, Govern- AND NORTHERN IRELAND ment of India), Law College Road, Poona 4. A The Director, 'TALI Royal College of Art, Department of Film and Television, The Director: Mr. Leonardo Fioravanti, Centro Queen's Gate, Sperimentale di Cinematograffa (C. S. C), Via Tus- London, S. W. 7. A. colana 1524, Roma. A The Director- Mr. Colin Young, The National Film The Director: Professor Mario Verdone, Institut() School, National Film Theatre, South Bank, Lon- di Storia del Teatro e dello Spettacolo, Universita don, S. E. 1. As degli Studi de Parma, Facolta di Magistero, Via Cavour 28, Parma. C/P

71 The Head:, Mr. James Leahy, The Slade School of YUGOSLAVIA Fine Art (Film Department), University College, Gower Street 1, London, W. C. 1. As The Director Mr. Momcilo Ilic, Institut za Film, Cika Ljubina 15/,I1,Beograd. As The Director: Mr. Robert Dunbar, London Film School Ltd. ,24 Shelton Street, London, W. C. 2. The Rector: Mr. Rados Novakovic, Akademiiaza A Pozoriste Film Radio i Televiziju, UliceKnoza Mihaila 46, 11000 Beograd. As UNITED STATES OF AMERICA

Professor Ernest D. Rose, Chairman of the Inter- CORRESPONDING MEMBERS national Committee, Professor of Communication, University Film Association, School of Communi- Thorold Dickinson, Honorary Director of the Slade cations and Theatre, Temple University, Radio- School of Fine Arts, University College, Gower Television-Film-Department, Philadelphia, Penn- Street, London, W. C. 1 sylvania 19122. A Alexander Groshev, Honorary Rector, State Insti- Mr. Bruce A. Linton, Association for Professional tute of Cinematography, Ulice Textilcilov I. B. Broadcasting Education (A. P. B. E. ), University of Moscow. Kansas, 2171 Flint Hall, Lawrence - Kan 66044. A Dr. Raymond Fielding, President, Society for Cin- ema Studies, Temple University, School of Commu- nications and Theatre, Philadelphia, Penn-19122. As

72 Annex H A NOTE ON FILM ARCHIVES

The note by Professor Toeplitz constitutes Part I were formed the first great collections of films. of this Annex.Part II is a list of the national mem- Practical means of collaboration were established bers of the International Federation of Film Ar- between these collections and in 1938 was founded chives (FIAF) about which, amongother things,Pro- the International Federation of Film Archives fessor Toeplitz writes in his note. (F. I. A. F.). The Constitutive Assembly of F. I. A. F. Secretariat: 74 Galerie Ravenstein, 1000 Brus- grouped: the British Film Institute, the Cinema- sels, Belgium. theque Francaise of Paris and the Reichsfilmar- The information in Part II is in the form sup- chiv of Berlin.After the Second World War film plied by FIAT.. archives were organized in many countries.To- day there are some 70-80 film archives in the world. PART I - A NOTE ON FILM ARCHIVES The film is a new art, the only new art of the twentieth century.The cinematograph film is al- (Contributed by the President of F. I. A. F. so a new form of historical document, and can Professor J. Toeplitz) vividly record certain aspects of the life of our time, it would be quite impossible to record in any The idea of creating film archives was born at al- other way.Since the appearance of television a most the same moment as the cinema itself.One rich new source of moving picture records of the of the pioneers of this idea was the Warsaw photo- most diverse kind has come into being. grapher and cameraman Boleslaw Matuszewski, It is vital that all films of lasting artistic or who, M a booklet printed in French in Paris in 1898, historical value should be preserved.If we allow called for the creation of film archives.Here are them to disappear, we are failing in our duty to his exact words: "The film, this simple ribbon of posterity.Film is one of the most fragile of re- printed celluloid constitutes not only a historical cording materials.It is quickly worn out by fre- document but a parcel of history and history which quent use.It will disintegrate ifkept in unsuitable has not faded away, which does not need a magi- atmospheric conditions.Commercial producers cian in order to come to life again." And Matus- and distributors must frequently destroy their stocks zewski continues: "It is necessary to give to this of films to make way for new-ones.The film in- source, perhaps a privileged one, the same official dustry cannot be too harshly blamed for this: its existence and the same possibilities as is given to function is to make and show films and not to act other already recognized archives." as museums. The idea of Matuszewski did not take form im- The permanent preservation of important mediately, even though before the First World War films can only be guaranteed by the existence of film collections were already started in various film archives which have the necessary financial countries, consisting in general of newsreels and resources, technical facilities and skilled staff to similar material considered as historical documents. save films from destruction and to make them At the end of the 1920s the sound film, greeted by available for study. the partisans of the silent film with regret and pro- The chief functions of a film archive are testation, alerted the attention of film lovers to the 1.To collect copies ofimportant films (cine- danger of destruction menacing the most significant matographic films and TV, if possible), old and cinematographic works, through the complete lack new, which are to be found in its own country. of interest in preserving these works for future 2.To supplement its collection by exchange generations. The need to create film archives with other film archives. whose role would be analogous to that of museums 3.To ensure the preservation of its films, and libraries as regards the treasures became ur- at first simply by acquiring and taking care of gent. them, and in due course by establishing the neces- In the early 1930s, a new chapter opened in sary technical services to guarantee their perm- the history of film archives. Already the first col- anent existence. lections gathered together for artistic reasons, the 4.To collect documents of interest to the nuclei of future film museums and film libraries, students of film art and history, such as books, were to be found. 1935 was a decisive year for film photos, scripts, set designs, posters, publicity archives. In a number of capitals at the same time - brochures, apparatus. Paris, London, Moscow, New York and Berlin - 5.To catalogue both films and documents,

73 and to make them available (without endangering filmovy ustav in Prague, Cinemateket of Svenska their preservation) to all who are interested inus- Film Institutet in Stockholm and the Archives of ing them for research and study. the American Film Institute in Washington. If national governments, municipalities or well 3.Film archives which are linked to a film established organizations, will undertake the for- school. The classical example of this legal set-'i mation of an archives, so much better.But many up is the Cinetecca nazionale of the Centro speri-' of the most important film archives have been star- mentale li cinematografia in Rome. The Polish ted in a very modest way through the efforts ofa film archive Filmoteka Polska was at the begin- single person in creating a film collection with ning a department of the Film School in Lodz. very few resources (Cinematheque Francaise, Cine- 4.Film Prehives being a part of alibrary. tecca Italiana, Swedish Film Archive). One man Not many archives belong to this group.The best can begin to create a film archive if he has suffi- known are: the Motion Picture Section of the Li- cient enthusiasm and is able to enlist sufficient brary of Congress in Washington and the Film Di- support. vision of the National Library of Australia in Can- The organizer or organizers of a film archive, berra. should first of all: 5.Film archives being a part of a museum. I. Find a suitable place to store films (nitrate At present not many archives belong to thisgroup. and acetate stocks separately). The best known and at the same time the most act- 2.Find a suitable method of financing, either ive is the Department of Film of the Museum of through the full support of the State,or grants Modern Art in New York, one of the pioneers of guaranteed by the government, or any other quali- the film archive movement in the world. fied institution. 6.Film archives founded by a film society. 3.Enlist the complete confidence and trust of This formula was very popular a couple ofyears film producers and distributors, because filmar- ago, especially in countries with a comparatively chivists are custodians of films the rights in which weak and small film production.The enthusiasts belong to copyright owners. of the cinema art organized a film society first The existing film archives throughout the world and then started to collect films. Many filmar- vary considerably in size, activity and legal setup. chives now existing have been organized in this Some of them, like Gosfilmofond in the SovietUnion way, e. g. T'urk ::inematek Dernegi in Istanbul or or the National Film Archive in Great Britain, are Oesterreichisches Filmarchiv in Vienna. very powerful organizations, possessing all techni- The great majority of existing film archives cal facilities, qualified staff etc.Other film ar- are members of the International Federation of chives are only beginning their work, withouttoo Film Archives, with its headquarters in Paris much, in a very modest way. Structurally they rep- and its General Secretariat isBrussels. The resent also different types. Federation is completely independent and financed Here are the most common: by the subscriptions of its members. It is governed 1.Film archives which function as fully in- in accordance with its Statutes and Rules by its of- dependent and specialized institutions.They are ficers and executive committee who are elected either State Film Archives or archives subventioned from the representatives of its member archives by the 'Treasury. For the proper development of at its annual congress.F. L A. F. is a member of film archive activities this legal structure isun- the International Film and Television Council. doubtedly the best one.It ensures concentration The purposes of F. I. A. F. are: on the main tasks, continuity of efforts and the to facilitate communication and co-operation proper training of future staff. between its members and to promote the exchange The great majority of existing film archives between them of films and information; belong to this group, amongst others: Staatliches to maintain a code of archive practice calcu- Film Archiv in the German Democratic Republic, lated to satisfy all national film industries, andto the Cinematheque francaise in Paris, Netherlands encourage them to assist the work of the Federa- Film Museum in Amsterdam, CinemathequeRoyale tion's members; de Belgique in Brussels, ArchivaNationala de Filme to advise its members on all matters of inter- in Bucarest, National Film Archive of India inPoona, est to them, especially the preservation and study etc. of films; 2. Film archives which are a part of a film to give every possible assistance andencourage- institute. These archives possessa large autonomy ment to new film archives, and to those interested within the framework of an institute, butsome of in creating them. their activities are transferred to other depart- The Latin American Film Archives have their ments of an institute, e. g. collection ofdocuments; own international organization: Union de Cinema- library of film books, publications, etc. To this tecas de America Latina - U. C. A. L.The follow- category belong such archives as the National Film ing countries are represented in U. C. A. L.- Ar- Archive of the British Film Institute, the Hungarian gentina, Brazil, Chile, Colombia, Cuba, Mexico, Film Institute and (Magyar Filmtidomanyi Intezet Paraguay, Peru, Uruguay and Venezuela.The ad- es Filmarchivum), Filmoteka of CeskYr a slovenskY dress of the Secretariat: Cinemateca Uruguaya,

74 Rincon 569, piso 1, Montevideo, Uruguay. U.C. A. L. HAIFA and F. I. A. F.co- operate closely and a number of Latin American film archives belong to both inter- Archion Israeli Leseratim, Beit James de Roths- national organizations. child, 142 Hanassi Avenue, Mount Carmel, Haifa, The importance of a film archive cannot be Israel underrated.The moving picture (in film and on television) is the most important development of HELSINKI communication in modern times.Future historians will compare it to the invention of printing, Suomen Elokuva-Arkisto, Etelaranta 4B, Helsinki The film archive is its library.Today any coun- 13, Suomi try without at least one well-equipped film archive is culturally underdeveloped. KO BEN HAVN Danske Filmmuseum, Store SOndervoldstraade, PART II 1419 KObenhavn, Danmark

FULL MEMBERS L IS BOA

AMSTERDAM Cinemateca Nacional, Palacio Foz Restauradores, Lisboa, Republica Portugesa Nederlands Filmmuseum, Paviljoen, Vondelpask 3, Amsterdam W, Nederland LONDON

BEOGRAD National Film Archive, 81 Dean Street, London W1V 6AA, Great Britain Jugoslovenska Kinoteka, Knez Mihailova 19/I, Beo- grad, Jugoslavia MA DRID BERLIN (East) Fillnoteca Nacional de Espana, Ministerio de In- torn-mole:in y Turismo, Avda Generalisimo 39, Staatliches Filmarchiv der D. D. R. , Hausvogtei- Planta 9, Madrid 16, Espana platz 3/4, Berlin, Deutsche Demokratische Repub- lik MILANO

BRUXELLES Cineteca Italiana, Villa Comunale, Via Palestro 16, Milano, Italia Cinematheque royale de Belgique, 23 rue Raven- stein, 1000, Bruxelles, Belgique MONTREAL

BUCURESTI Cinematheque quebecoise, 360 rue McGill, Mon- treal 18, Quebec, Canada Archiva Nationala de Filme, Casuta potala 126, Bucuresti 1, Romania MOSKOVA

BUDAPEST Gosfilmofond, Stancia Bielye Stolby, Moskovskaia Oblast, USSR Filmarchivum/ Magyar Filmtudomanyi Intezet, Ne- pstadion ut 97, Budapest XIV, Magyar Nepkortar- NEW YORK sasag Department of Film/Museum of Modern Art, 11 CANBERRA West 53rd Street, 100019 New York, N. Y., U. S. A.

Film Division/National Library of Australia, OSLO Parkes Place, Canberra A. C. T. 2600 Australia Norsk Filminstitutt, Aslakveien 14b, Oslo, Norge HABANA OTTAWA Cinemateca de Cuba, Calle 23, nr 1155, Vedado, La Habana, Cuba Canadian Film Archives, 1762 Carling, Ottawa 13 Ontario, Canada

75 POONA WIESBADEN National Film Archive of India,Law College Road, Poona 4, Bharat, India Deutsches Institut far FilmkundA,Schloss, 6202 Wiesbaden- Biebrich, BundesrepublikDeutschland PRAHA PROVISIONAL MEMBERS Filmotekaiees*a slovens* filmovS, Ustav, Male- gicka ul. 6, Praha 3, Czechoslovakia BERLIN (West) ROME Deutsche Kinemathek, Pommernailee1,1 Berlin 19, Bundesrepublik Deutschland Cineteca Nazionale, Centro sperimentaledi cinematografia, via Tuscolana 1524, Roma,Italia CAIRO SOFIA Al-Archive el Kawmy Lilfilm, 36Cherif Street, Cairo, U. A. R. Bulgarska Nationalna Filmoteka, 50 ul.gurko, Sofia, Bulgaria ISTANBUL STOCKHOLM Tiirk Film Arvivi,Devlet Gazel Sanatlar Akade- misi, Findikli Istanbul, Tiirkiye Cinemateket/Svenska Filminstitutet,Box 27126, '4 10252 Stockholm 27, Sverige LAUSANNE 'TIRANA La Cinematheque suisse, 12Place de la Cattle- drale, 1002 Lausanne, Suisse Filmarshiva e Republikes Populloreto Shqipe- rise, Rruga Aleksander Mojsiu,Tirane, Repub- lika popullore e shqiperise ASSOCIATE MEMBER TORINO LONDON Museo Nazionale del Cinema, Palazzo Chiablese, Imperial War Museum, LambethRoad, London Piazza San Giovanni 2, Torino, Italia S. E. 1 Great Britain TOULOUSE CORRESPONDING MEMBERS Cinematheque de Toulouse, 3rue Roquelaine, Toulouse, France BUENOS AIRES WARSZAWA Cinemateca Argentina, Lavalle 2168, 10,Buenos Aires, Argentina Filmotet.a. Polska, Ul. Pilawska61, Warszawa 13, Polska ISTANBUL WASHINGTON Tiirk Sinematek Dernesii,Siraselviler Gad.65, Taksim, Istanbul, Turkiye Motion Picture Section/Library ofCongress, Washington D. C. 20540, U. S. A. LIMA American Film Institute Archives,1815 H Street, Cinemateca Universitaria del Peru,Apartado N. W. Washington D. C. 20006, U. S.A. 456, Lima, Peru WIEN LOS ANGELES Oesterreichisches Filmarchiv, Rauensteingasse5, 1010 Wien, Oesterreich U. C. L. A. Film Archive, 405 HilgardAvenue, Los Angeles, California 90024 Oesterreichisches Filmmuseum, Augustinerstrasse 1, 1010 Wien, Oesterreich

76. LYON MEXICO

Comite de fondation du Musee du cindma et de la Cinemateca Mexicana I. N. A. H., Cordoba 45, Cinematheque de Lyon, 69 rue Jean Jaures, 69 Mexico 7, D. F. , Mexico Villeurbanne, France PYONG-YANG MONTEVIDEO Korean Federation of Film Archives, Pyong-Yang, Cine Arte del Sodre, Andes y Mercedes, Monte- Choson-Minchu-Chui Inmin Konghwa-Guk, North video, Uruguay Korea Cinemateca Uruguaya, Rincon 569, piso 1, Mon- tevideo, Uruguay

77 Annex .1 A NON-THEATRICAL FILMLIBRARY The Central Film Library of the Central Office cf Information (COI) of the United Kingdom Government by Arthur Vesselo M.A.

(The author was for manyyears Head of Home Non-Theatrical Film Distribution ponsible for the running of the COI's at the COI and as such res- Central Film Library or CFL. In thisnote, he briefly relates 4.1e origins and development of the Library anddescribes in greater detail its Films and Television Division produces scope and operations. The COI's and distributes films for the homeand the external departments of the British Government. The Division'ssystem of control of production activities Annex M. Here Mr. Vesselo describes is dealt with later in the COI's distribution activities in Britainthrough the CFL.)

Attached to the COI's Films and TelevisionDivi- In 1952, for economy reasons, sion (but separately housed) is the Central the Crown Film Film Unit and the mobile units were disbandedand the Library at Acton in London which, with itsasso- Central Film Library put on a self-supporting ciated libraries in Scotland and Wales, is ba- the gov- sis.Hire and sale charges were imposed,and ernmental base for home non-theatrical filmdistri- there followed a degree of specialization- spe- bution to all parts of the United Kingdom. The films are nowadays mostly 16 mm. sound cialization, however, in so many differentfields ones, that the CFL remained and remainsone of the though there are also a few silent films forspecial widest ranging libraries in existence. purposes, and a certain number of filmsare avail- Entertain- able in 35 mm. too. Some filmstrips ment films, as such, are excluded,and films are are also dis- chosen to appeal to groups with particularinter- tributed but on sale only and not normallyon loan. ests rather than to the "general" public. The Library is not only the oldest part of the Speciali- zation has been one of the main keysto the undoubted COI (actually ante-dating both it and its predecessor, success of the library.Despite an inevitable (quite the war-time Ministry of Information by several sharp) decline in output in the first years) but can claim to be the oldest days after the film library switch from free loans to hire and sale, thelibrary in the world (as also one of the biggest).Its origins are interesting. They never ceased to be viable and usage figuressoon go back to about 1927 began again on a steady and impressiveupward when a modest scheme for sending filmsabout maPch. Britain and the Commonwealti. to schools through A word is in place here about the the post developed into a regular sources of film-library type films. A certain number of filmsare made every of operation under the aegis of whatis now the Com- year through the COI for government departments monwealth Institute. The late John Grierson made specifically for home distribution, oftenin con- his historically significant documentaryDrifters for nexion with some particular campaign, the Empire Marketing Board such as or EMB and in 1929 anti.-smoking, the special pre-decimalizationcam- this silent film became part of the Institute'sfilm paign to familiarize people with the library.It is still available from the CFL though new decimal nothing else from this period remains coinage, the metrication campaign andso on.The on the Li- distribution of films of this type isan extremely brary's shelves.In the 1930's the EMB's filmpro- important part of the library's work; ducing unit was transferred to the but a major- General Post Of- ity of the films in the CFL's catalogues- there are fice and the library became the "Empire and G. P.O. approximately 2,000 titles Film Library". Then, after the outbreak of are nevertheless ac- war, quired from outside sources, fromhome and abroad, both of them passed under the control ofthe Minis- from public and private bodies, national try of Information and were renamed the Crown and international (includihg,of course, Unesco). Many Film Unit and the Central Film Library.Both now served not any one particular branch countries are represented. The criterionis the or aspect of fulfilment of some specific informationalfunction government but government as a whole. Thelibra- with which one or another government ry's work expanded enormously during the department war. All is associated, and the department'swritten appro- lending was entirely free, anda large mobile unit val is always required. system was also operated. After the war, however, Some films continue to be issued free inthese the Ministry became a Central Office- basically a instances charges are paid by thesponsors, that service body for other departments andministries - is to say that if a sponsor organization wishes and film-making, acquisition and distribution no were hire fee to stand between its film and itsintended geared to new functions. The mobile unitsystem public the organization itself pays the was gradually cut down. library's costs. But no film is ever taken on purelybecause

78 an outside sponsor is willing to pay for it;the cri- the films and their availability to these departments' terion mentioned at the end of the last paragraph own contacts.Special leaflets are produced where must be met. The lists also undergo continual re- necessary, and the press are kept advised of new view, and films which are felt to have served their films by frequent press releasesParticular atten- purpose are constantly being withdrawn. tion is paid to the relevant technical and specialized Before hire charges were imposed, schools journals. formed easily the biggest single class of borrower. The spread of television into practically every This situation has now changed.Classroom teach- home in the country caused some fear that non- ing films have for many years been supplied by the theatrical film distribution might be adversely af- Educational Foundation for VisualAids, the schools' fected.This fear was entirely unfounded. The ef- own organization, through the National Audio- Visual fects were quite different from those observed ..n Aids Library. Schools and Local Education Authori- the public cinemas. Far from reducing demand for ties still borrow from the CFL (and are still cer- films for group showings, the wider dissemination tainly an important user group), but they do .^ of television has actually increased that demand. a considerably reduced scale.The CFL's biggest The appearance of a suitable television programme, single user is now industry, which (including tech- seen by group organizers in their homes, will very nical colleges and university-level technological in- frequently lead to inquiries about the availability of stitutions) accounts for over 45% of all issues. One such a programme for screening on 16 mm. film to of the CFL's catalogues is devoted entirely to films a group audience at one of its normal meetings and for industry;there are at present over 900 such in the context of the group's particular interests films, for instruction and training and for the pro- and with possibilities of discussion.As a result, motion of productivity, health and safety, and de- the CFL holds and distributes numbers of films velopment. The demand for these subjects increases originally shown as programmes on one or another perpetually and it is normal for an industrial-type television channel, and now acquired for further film to be at the top of the borrowing list,though use by borrowers, at times and places of their own in the year of decimalization of the coinage these choosing,for as long as the requirement lasts. were displaced by two decimalization campaign While television in its immediate mass coverage films, one of which was borrowed not far from cannot conceivably be matched quantitatively by 2, 000 times, many copies also being sold.The any amount of non-theatrical film distribution, the British Productivity Council's films are always at latter retains its primacy for long-ter,m, intensive or near the top of the list;but for a number of use, often over a period of several years. years the privately sponsored film Critical Path It remains to be seen what impact the new de- led the field with up to 1, 000 issues a year, the vices at present burgeoning on all sides will have B. P. C. films coming close behind. on the non-theatrical film field.Meanwhile output Public health and nursing training films are from the CFL and its associated libraries runs at very widely used; as are vocational and educational something approaching 100, 000 loan issues a year, guidance films.In promoting distribution, the CFL some for extended periods (and there are, of course, relies not only on its catalogues and supplements numerous sales), and current gross anaialincome and on regular notifications to borrowers concern- is around £200,000 compared with just over £27,000 ing new additions, but on the ready co-operation of in 1953-1954 (the first full year after the imposi- government departments in the organization of press tion of charges). shows and in the sending out of information about

79 Annex K FILM SOCIETIES

INTERNATIONAL FEDERATION OF FILM SRI LANKA SOCIETIES (IFFS): NATIONAL MEMBERS Lanka Chitrapati Samithi Sammalanaya,101 The Federation is a non-governmental,non-profit- 1/1 Jawatte Road, Colombo 5 making organization whose object is to furtherco- operation between its members.Full membership CHILE is open to national organizations of filmsocieties, i. e. non-commercial, non-profit-making bodies Cine-club Universitaire, Santa Lucia 240, Santiagt, linking a sufficiently representative numberof film de Chile societies throughout one country. Legal Headquarters:42 rue du Cardinal Lemoine, 75 - Paris 5 COLOMBIA Administrative Secretary: Lise Le Bournot Federacion Colombiana de Cine Clubs, Hernando Palacios, 25 Allee J. Aroles, 66 Argeles Plage, Salacido Silva ay. Jimenez de Quesada, 8-60- France. of. 502 - apartado national 18-98, Bogota The following information is in the formsup- plied by IFFS. CUBA

ANDORRA Instituto Cubano Arte y Industria Cinematografica, apartado 55, Calle 23 n° 1155, Habana ARANA, avenue Maritxell, Andorrerla vieille CYPRUS ARGENTINA The Nicosia Film Society, c/o Mr. Ch. Papado- Federacion Argentina de Cine-clubs, c/o Cine- poulos, Secretary, CBC TV, Nicosia club Igucleo, Lavalle 2016, 8° piso, of. 17, Buenos Aires CZECHOSLOVAKIA AUSTRALIA Ceskoslovenska federace filmov,ch Klubu,Vjarne 1, Prague 1 The Australian Count-il of Film Societies,4 Stanley Grove, Canterbury FINLAND

BELGIUM Elckuvakerhojen Liito, Etelarnta 4 B, Helsinki 13 Service national des tine- clubs, Palais desBeaux- FRANCE Arts, 25 rue Ravenstein, Brussels 1 Federation socialiste des tine- clubs, 42rue Haute, Federation fransaise des tine- clubs, 6 rue Ordener, Brussels 1 Paris 18 Federation Loisirs et culture cinematographique, BRAZIL 155 Bd Haussman, Paris 8 Conselho Nacional de Cine Clubs, Rua Tubarama Union nationale Inter Cine-clubs, 42 rue du Cardinal 51, Villa Maiana ZP 12Sao Paolo Lemoine, Paris 5

CANADA FEDERAL REPUBLIC OF GERMANY

Canadian Federation of Film Societies, 1762Car- Verband der deutschen Filmclubs, Im Sachsenlager ling Avenue, Ottawa 13 13,III Frankfurt-Am-Main

80 GERMAN DEMOCRATIC REPUBLIC SPAIN Arbeitsgemeinschaft Filmclubs, Luisenstrasse Federaci6n Nacional de Cine Clubs, Generalisimo 54/55, Berlin 104 96, 5° 9, Madrid 16

INDIA SUDAN Federation of Film Societies of India, C 7 Bharat Khartoum Film Society, Faculty of Veterinary Bhvan, 3 Chittaranjan Av., Calcutta 13 Science, University of Khartoum, Khartoum

IRELAND. SWEDEN Cumann Na Scanna, 5 North Earl Street, Dublin 1 Sveriges Forenade Filmstudios, Kungsgatan 65, Stockholm C ITALY TUNISIA Federazione Ita liana del Circoli del Cinema, Corso Vitt. Emmanuela II,187, Roma II Federation tunisienne des eine-clubs,40 rue du 18 janvier 1952, Tunis MOROCCO UNITED KINGDOM OF GREAT BRITAIN AND Federation marocaine des cine-clubs, Maison des NORTHERN IRELAND sports, Parc de la Ligue Arabe, Casablanca The Federation of Film Societies, 102 Dean Street, NETHERLANDS London W.1.

Rudolf Van Weel, R. J. Schimmelplenni,:klaan 10 B, UNITED STATES OF AMERICA The Hague American Federation of Film Societies, 144 Bleecker NEW ZEALAND Street, New York, N. Y. New Zealand Federation of Film Societies Inc.. The Film Society of Hawaii, P. O. Box 10006, P.O. Box 1584, Wellington Honolulu 96816

PANAMA URUGUAY Federaci6n Nacional de Cine Clubs de Panama, Federaci6n Uruguaya de Cine Clubs, Carrito 475, apartado postal 8640, Panama 5 Casilla correos 1676, Montevideo

PARAGUA Y Cine Universitario del Uruguay, Santiago de Chile 1182, Montevideo Cine Club Universitario,Facultad de Filosofia, 25 de Diciembre c/Colon, Casilla de correo 346, VENEZUELA Asuncion Cine Club Universidad del Zulia, Maracaibo POLAND YUGOSLA VIA Polska Federacja dyskusyjnch Klubow filmowych, Skrytka Pocztowa 120, Warsaw 10 Savez Filmskih Kiubova Jugoslavijo, Dalmatinska 12, Zagreb SOUTH AFRICA Federation of Film Societies of South and Central Africa, P. 0. Box 10849, Johannesburg (Transvaal)

81 Annex L ART HOUSES IN DEVELOPING COUNTRIES by Paul Leglise

(This is an extract, translated and publishedby permission, from the fullest development of this type of cinema which account so far available of the used to be called repertory or specializedcinemas and are described in French as art and experimental cinemas(I).The first part of this monograph deals tion in the author's own country, then with the situa- reviews this type of cinema internationally, andconcludes with the code which governs the special concessionsgranted to a cinema in France recognized of an art house. as having the status This covers among other things the best technicalconditions for projecting films and their supervision, provision of supportingprogramme literature and generally actingas a cultural amenity in respect of cinema art for the local community.Having earlier spoken of some of the difficulties lishing art houses, Mr. Leglise writes: ) of estab-

If it is difficult for art houses to take root inindus- liadid, Jules et Jim, Un soir, trialized countries, it is all the un train.There is more so in the de- another art house in Carthage.In order to extend velop fig ones.It would seem necessary in the the movement in the provinces, latter case to encourage first the development programmes of of good quality films have toured around beingshown film societies so as to help with the creationof new in Bizerta, Kairouan, Sfax and Sousse, audiences. And, in those countries where for two or there is three days a week, any loss on the box officeside already a youthful movement producing filmsof being made up by the authorities. This quality, a flowering of art houses should be experiment sought. will, it is hoped, lead to the settingup of art houses The desire for this was expressed in Dinard in1969 in the near suture in these towns. at the Festival of Films from French-speaking Since 1970, countries. weekend programmes at the Etoile cinemain Sfax Then again the initiatives taken at the and the Casino at Sousse are madeup of the films Mannheim Film Festivals in puttingon programmes exhibited previously at the Tunis and Carthageart devoted to the Young Cinema of Black Africaor the houses. New Cinema Movement of India are activecontribu- This methoe offers a way which might be fol- tions t. the exchange of films between countries lowed in other developing countriesor for that mat- where art houses can play a bigpart. ter in industrialized ones which are still deprived The method by which such cinemas takeroot of art houses. will undoubtedly not be the same in othercountries. It can also be experimental and progressive, on si- (1)Le cinema d'art et d'essai, redigopar Paul milar lines to those pursued at present inTunisia. Leglise, Chef du Service de l'Action Cultur- In Tunis, there exists an art movie house,a elle du Centre national de la cinematographic pilot one where the most successful filmsshown francaie4.Publi6 par La documentation have included a Walt Disney Festival, Forwhom francaise, Paris 1971. the bell tolls,Falstaff, Fahrenheit 451, Bab el

82 ty.

Annex NI PRODUCTION CONTROL FOR INFOP.MATION FILMS

(The following note describes the system used in Britain for The control - tr anagerial, financial, professional, etc,- of the production of government-sponsored films.Itis based on data provided by the responsible agency of the United Kingdom Government, the Central Office of Information or COI.Films are produced through or by the Films and Television Division of the COI or behalf of all government departmers, including those concerned with external relations. ) The COI Films and Television Division is concerned script to the sponsoring department, the PCO must with the production of documentary films for the assess the likely visual effect of written texts and home ministries and departments, of short public discuss any technical points of film production with service film items for screening on British tele- t'7e producing company.He must also interpret the vision, and of "commercials" or paid publicity riot sponsoring department's comments on the script so material for use on television and in cinemas, and as to render them useful to the producing :11m com- with providing certain facilities for television opera- pany.Once a script is approved, arrangements for tions.In providing these and also other materials its production are worked out between the company for showing abroad, the same basic method is em- and the PCO. This involves the choice and survey ployed.It centres on the Division's own production ( :cations, schedules of facilities and so forth. control staff and, in respect of each film, on one of Cost estimates are required and these are closely the production control officers or P CO's belotKing to examined by the PCO and the Division's Budget this staff.The actual production of films is con- officers, who are able to judge 1.n negotiating about tracted to outside film companies.The r6le of the charges whether these are reasonable.Detailed COI's production control officers in the three-fold knowledge of trade union agreements, salaries and relationship between these companies, the COI it- wages in the industry, hire costs of equipment and self and the sponsoring government departments, is aknowledge offilm and television production the main theme of the present note, methods are called for in deciding whether times Informal discussions about possible films which for shooting,editing and so on are i easonable. a sponsoring government department thinks it might Throughout, from the creative process of selec- require during the coming year often begin some ting the writer, director and production company months before, and the Films and Television Divi- to the final approval of the first release print of sion advises on feasibility, possible costs, length, the film, the PCO is the essential link between iiie visual effetieness and so on.These discussions sponsoring department and the film team.In this are formalized during the working out of the finan- he must l/./ part manager, part technical expert, cial estimates, and cover the purpose 'the film, part film producer; he must interpret me sponsor- the definitions of the target audience, the method by ing department's needs to the production company which the audience can be reached, and in& -J, and conversely must interpret the company's dens Wit whether the distribution prospect is sufficient t., to the departments. Above all, the PCO must main- justify the production. tain understanding and mutual respect between these IR The process leading to production begins with parties and keep th m moving in the same direction. a sponsoring ministry sending a letter to the COI More specifically, he runs the meetings at which sponsoring the cost and requesting, and setting out approaches to the film are explored; arranges the the need for, the film.A case is then put forward film writers' surveys and writing of treatment and by the PCO stating the purpose, audience, scope script, and helps the Budget officers to decide what and artistic level of the film.In consultation with visits and journeys need to be undertaken, so that his superior officers, a film production company is reasonable fees and expenses can be agreed.He chosen (from about seventy on the COI's books), and must give the production company maximum scope the case is submitted by Administration Section to for originality and yet see that ideas proposed agree Finance Division for approval. The provision of a with the brief, are feasible in film terms, are shooting script and discussion with the selected geared to the audience in mind, and are not likely production company then follows and a detailed bud- to cost more than the sum available.Because of get is prepared by that company to be subjected to the number of government departments served by thorough analy:-.s and negotiation by the officers of tte COI, he is often in a unique position to advise the Division's Budgets Unit.The production con- on points raised by the sponsoring department or tract is then placed by Administration Section. the :am-makers which may involve the policies of Before sending forward a film treatment or other departments.

83 His duties will include attending castingses- them in the light of what is technically possible at sions for actors where these are used in a produc- this stage.The line between their responsibility tion.Often too he has to be present on location, for policy and his for presentation is often blurred sometimes to make sure facilities are working out and the PCO has to handle this rough-cut session as arranged, but also to take decisions which inter- with tact and understanding. pret the brief and the sponsoring department's Once this stage is completed, the final record- wishes in the light of circumstances. He sees the ings of voices, sound effects and music can be done. film at various stages of assembly until he agrees Here again the PCO's opinion will be sought by the with the production company that it is at the stage production company.After the sponsoring depart- where it can be shown in the rough-cut form* to the mentaccepts the final show copy, distribution plans sponsoring department.At this stage, the PCO's for the film are finalized between the COI's Film role is crucial.Although he himself has lived with Distribution Section and the department. Then the the film for weeks, the officials of the sponsoring contract material is called in, checks are made department have, until this moment, seen only docu- that the necessary rights (artists, music, pictures) ments on paper.Imagination is called for by them have been cleared and final payments are made, to visualize the finished film in full colour, though subject to cost investigation if need be. what they are seeing may be mostly in black and white with temporary sound tracks and a linking narration read out by someone in the projection *The rough-cut is the first assembly, or pre- cinema. The PCO must allow for this in receiving montage, of a film showing the various pictures their comments and discussing how to implement and sound track in their correct order.

84 Annex N AN ACT RESPECTING THE NATIONAL FILM BOARD OF CANADA (Assented to 30th June1950)

1. This Act maybe cited as The National Film Act, five of whom shall be selected from outside the pub- 1950. lic service and Canadian Forces. 2) Each member of the Board, other than the INTERPRETATION Commissioner, shall hold office for three years, but may be removed for cause at any time by the 2. In this Act: Governor in Council; Provided that of the members (a)'Account' means the National Film Board first appointed, three shall be appointed for a period OperatingAccount establishedundersection of one year, three for a period of two years and two eighteen, for a period of three years. (b)'accounts receivable of the Board' means (3) A retiring memberof the Board is eligible the payments due and owing to the Rec,:iver General for re-appointment. in respect of operations of the Board and any amounts (4) When a member ceases to be a member that in accordance with this Act are due and trans- before the end of the term for which he was appoint- ferable to the Account from appropriations made by ed the Governor in Council shall appoint a per at Parliament, to be a member for the remainder of that term. (c)'Board' means the National Film Board, (d)'Commissioner' means the Government 5. No person is eligible for appointment to the Film Commissioner appointed under thisAct, Board who has any pecuniary interest, direct or (e)'department' means any department or indirect individually or as a shareholder or artner branch of the Government of Canada and any agent or otherwise in commercial film activity. of His Majesty in right of Canada, 6. A member of the Board, other than the Com- (f)'film' means motion pictures, still photo-- missioner or a member of the public service or graph:, photographic displays, filmstrips and such Canadian Forces, may be paid such fee for each oier forms of visual presentation as consist pri- meeting of the Board he attends as may be fixed by marily of photographs or pieltographic reproduc- by-law of the Board, and the members of the Board tions, are entitled to be paid actual travelling and living (g)'film activity' means any activity in rela- expenses necessarily incurred in connection with the tion to the production, distribution, projection or business of the Board. exhibition of film, (h)'inventory of the Board' means the stores, 7. (1) The Board shall meet at the call of the supplies, materials and equipment held by the Board, Chairman but, in any event, not more than three and finished or partially finished work of the Board months shall elapse between meetings of the Board. in respect of the cost of which payment has not yet (2)Five members of the Board constitute a been received, or transferred and credited to the quorum. Account nor included in accounts receivable of the (3) Each memberhas one vote in the transac- Board, tion of the business of the Board and if the number (0'Minister' means the Minister designated of votes is equal the Chairman has an additional by the Governor in Council for the purpose of this vote. Act. (4) The Board, with the approval of the Minis- ter, may make by-laws not inconsistent with the RESPONSIBILITY OF MINISTER provisions of this Act with respect to the conduct of the business of the Board. 3. For the purposes of this Act and subject to its 8. The Chairman shall furnish a copy of the min- provisiors, the Minister shall control and direct utes of each meeting of Vx?. Board to the Minister. the operations of the National Film Board. PURPOSES OF THE BOARD NATIONAL FILM BOARD 9. The Board is established to initiate and pro- 4. ( 1 )There shall be a National Film Board, con- mote the production and distribution of films in the sisting of the Commissioner, who shall be Chairman, national interest and in particular: andeight other members to be appointed by the (a)to produce and distribute and to promote Governor in Council, three of whom shall be selected the production and distribution of films designed to from the public service or the Canadian Forces and interpret Canada to Canadians and to other nations,

85 (b) to represent the Government of Canadain production or processing of amotion pietth'e film its relations with p..r..,ons engaged in commercial, tt ithout the authority of the Board, and the produe- motion picture fern activity in connectiontt ith tioi an.,,roct.,-tsitig of al! :notion picture films by motion picture films for the Governmentor -ray de- or for ti.-p irtments shall be undertaken by the Board partment thereof, unless the Board is of opinion that it is in the pub- (c) to engage in research in film actitay i.iiii lic interest thatit be otherwise undertaken and to make available the res'alts thereof topers.": .. authorises it to be so undertaken. eng ged in the production of films, (2) 'there the Board has undertakena film (d)to advise the Governor in Council in cot.- activity at the r..quest of a Ministeror other per- nection with film activities. son presidi g over or in charge of a department, (el to discharge such other duties relatingto there may be transferred out of thentoneys appro- film activity as the Governor in Councilma ect priated by Parliament for or available for expendi- it to undertake. ture by that department to the National Film Board Operating Account such sums to defray thecosts POWERS OF THE BOARD incurred oy the Board for dud film activityas such 10.(1) subject to the direction and control of the Minister or other persons and the Boardagree. Minister, the Board may, for thepurpose for which it is established: 12. Notw ithstandirtg anything contained in thisAct, the hoard shill not, unless the approval ofthe (a) make, project, exhibit or distributeor Treasury Board has been obtained on therecommen- cause to be made, projected, exhibited or dis- dation of the 'Minister, enter into a contract involv- tributed films in Canada or elsewhere on behalf ing an estimated expenditure inexcess of fifteen of the Board or on behalf of other departments thousand dollars. or persons, (b) determine the manner in whichmoneys 13.(1) With the approval of the Treasury Board available to the Board for the production ofa obtained on the recommendation of the Minister, tam may best be expended in the production the Board may formulate a plan of organisation for thereof, the establishment and classification of the continuing (c) acquire personal property in thename positions necessary for the proper functioning of of the Board, the Board and the establishr tent of rates ofcompen- (d) enter into contract : in thename of the sation for each class of position, having regardto Board, including contracts for personalser- the rates of compensation and conditions of employ- vices, ment for comparable positions in other branches of (e) dispose of personal property held in the the public service and outside the public service. name of the Board or adminis tered by the Board ;2) With the approval of the Treasury Board e n behalf of His Majesty, in processed form or obtained on the recommendation or the Nlinister, otherwi5e, at such price and upon such terms the Board may amend or vary a plan approved under as the Board deems advisable, subsection one. (f)acquire in the name of the Board copy- (3) Subject to the plan of organiiation approved rightsin any literary, musical or artistic under this section and subject to subsection four, works,plays,songs, recordings and films, the award may, notwithstanding the Civil Service (g) acquire in the name of the Board and Ac , appoint persons for a termor during pleasure use any patent or patent rights, brevets d'in- t-,fill the positions established by the plan,pre- vention, licendes or concessions, :.cribe their conditions of employment and provide (h) make arrangements or agreements with f,r their promotion, salary and salary increases, any person or organisation for the use of any but the provisions of the Civil Service Azt relating rights, privileges or concessions, and to political partisanship and payment of gratuityon (i) do such other acts and thingsas are death shall apply to the persons appointed under necessary or incidental for the purposes for this section. which the Board is established. (4) The appointment by the Board of aperson (2) Actions, suits or other legal proceedings to a ccr.ttinuing position at tt salary exceeding five in respect of any right or obligation acquiredor in- thousand dollars shall not be effective until apqoved curred by the Board on behalf of His Majesty, wheth- by the Governor in Council. er in its name or in the name of His Majesty,may be: (5) Each officer or employee employed by the (a) brought or taken against the Board, with- Board under this section shall, before entering out the Governor General's fiat, or upon his duties, take an Oath of Office anti Secrecy (b) brought or taken by the Board, in the in the form set out in the Schedule. name of the Board in any court that would have (6) The Commissioner, if immediately prior jurisdiction if the Board were a corporation to his appointment he was a contributor under the that is not an agent of His Majesty. Civil Service Superannuation Act, and everyperson who, 11.(1) Except with the approval of the Governor (a) immediately prior to the coming into inCouncil,no department shallinitiatethe force of this Act,

86 t: (i) was employed on the staff of the Gov- FLNANCIAL PROVISIONS ernment Motion Picture Bureau, and (ii)as a contributor under the Civil Ser- 17.(1) The Board shall submit to the Minister an vice Superannuation Act, and annual budget for each fiscal year showing the esti- (b) immediately after the coining into force mated revenues and expenditures of the Board for of this Act is appointed or employed ulider this its operations during that fiscal year. Act, shall continue to be a contributor under (2) The Board shall establish and maintain an the Civil Service Superannuation Act and, for accounting system satisfactory to the Minister and the purposes of that Act, his service under this all books of account, records and papers of the Act shallbe counted as service in the civil ser- Board shall at all times be open to the inspection of vice and he, his wido, children or other de- the Minister or of such persons as he may designate pendants, if any, or his legal representative, and the Comptroller of the Treasury. may be granted the respective allowance or 18.(1) An account shall be established in the Con- gratuities provided by the Civil Service Super- solidated Revenue Fund for the purpose of this Act annuation Act. to be known as the National Film Board Operating (7) Where a person who continues to be a con- Account. tributor under the Civil Service Superannuation Act (2) All expendi ire made by the Board, other by virtue of subsection six is retired from his posi- than expenditures fc- the acquisition of capital tion under this Act, he may be assigned to a position equipment for the Board's own use, shall be shown in the civil service for which he is qualified or he as expenditures in the Account and the Board may, may be granted the same benefits under the Civil subj ct to subsection four, make expenditures for Service Superannuation Act as if his office or posi- the purposes of this Act other than for the acquisition had been abolished. tion of capital equipment, from moneys in the Con- 14. The Board may, notwithstanding the Civil Ser- solidated Revenue Fund, which shall be shown as vice Act, employ such persons in position other than expenditures in the Account. in continuing positions in the plan approved under (3) There shall be shown as receipts in the section thirteen, as may be required from time to Account: time for the operations of the Board and may deter- (a) all moneys received by the Receiver mine their remuneration and conuitions of employ- General in respect of operations of the Board, ment. (b) amounts transferred from appropriations made by Parliament for the operations of GOVERNMENT FILM COMMISSIONER the Board other than for the acquisition of capital equipment by the Board, in respect of 15.(1) There shall be a Government Film Com- expenditures that been incurred in opera- missioner who shall be appointed by the Governor tions of the Board for which the moneys were in Council on the recommendation of the Board and appropriated, -.id paid such salary as the Governor in Council may (c) amount,Itansferred fro.a appropria- determine_ tions for expenditure by other departments for (2) The Commissioner shall be appointed to film activities, in-respect of expenditures that hold office for a period not exceeding five years but have been incurred by the BJard for films may be removed from office for cause at any time undertaken by the Board for those departments. by the Governor in Council on the recommendation (4) The expenditures made by the B 'ard and of the Board. shown in the Account shall not at any time exceed (3) On the expiration of his term of office the the receipts shown in the Account by more than Commissioner is eligible to be reappointed as C or- seven hundred thousand dollars or such lesser miss loner. amount as may be fixed by the Treasury Board. (4) In the case of the absence or inability of (5) At the end of each fiscal year the value of the Commissioner to carry out his duties for any the inventory of the Board and accounts receivable reason, or in the case of a vacancy in the office of of the Board shall be determined in accordance with Commissioner, the Board may, subject to the ap- regulations to be made by the Governor in Council, proval of the Minister, appoint an Acting Commis- and if such value, added to the receipts shown in the sioner. Account, exceeds the total of expenditures shown in the Account and liabilities in respect of opera- 16.(1) The Commissioner is the chief executive tions of the Board then due and payable an amount officer of the Board and is charged with the adminis- equal to the e.wess ;hall be transferred to the Con- tration of the operations of the Board and may, sub- .Jlidated Revenue Fund as revenue, but if the value ject to the by-laws of the Board, exercise all powers is less no amount may be credited to the Account to of the Board in the name of the Board. meet the deficiency except pursuant to an appro- (2) Subject to the by-laws of the Board, the priation by Parliament for that purpose. Commissioner may authorise officers or employees (6) Upon the coming into force of this Act an of the Board to act on behalf of and in the name of amount equal to the total value of the inventory of the Board. the Board and accounts receivable of the Board,

87 determined in accordance with regulations to be by the provisions of this Act inrespect of its busi- made by the Governor in Council, shall beshown as ness or operations as he may require. an expenditure in the Account. 19.Except as otherwise provided in this Act, the REPEAL Consolidated Revenue and Audit Act, 1931,applies in respect of operations under this Act. 22. The National Film f.ct, 1939,chapter twenty of the statutes of 1939,.-: repealed. REPORTS COMING INTO FORCE 20.(1) As soon as is practicable afterthe end of each fiscalyear the Board shall submita report of 23. This Act shall come intoforce on a day to be the operatioas of the Board for the fiscalyear in fixed by proclamation of the Governorin Council. such form as the Minister may prescribe. (2) The Minister shall lay the annualreport of SCHEDULE the Board made under subsectionone, before Par- Oath of Office and Secrecy liament within fourteen days after thereceipt thereof if Parliament is then sittingor if Parliament is I, (A. B. ) solemnly and sincerelyswear that I will not then sitting, within fourteen days after thecom- faithfully and honestly fulfil the duties whichdevolve mencement of the next ensuing session thereof. upon me by reason of my employment withthe National Film Board and that I will not,without due 21. The Board shall furnish to the Ministerat such authority in that behalf, disclose or make times and in such manner as he known may require, such any matter which comes to my knowledge byreason statements or reports in addition to those required of such employment. So, helpme God.

88 Annex 0 Part I PRODUCTION SUMMARY 1970-71

MOTION PICTURE FILMS PRODUCED BY THE NATIONAL FILM BOARD

Versions and Originals Revisions Sub-total Total NFB Program: English 31 17 48 French 34 11 45 Bilingual 4 1 5 Foreign - 61 61 159 Sponsored Program: English 29 6 35 French 4 12 16 Bilingual 4 - 4 Foreign - 6 6 61

OTHER MOTION PICTURE ITEMS PRODUCED BY THE NATIONAL FILM BOARD Film Clips Film Loops

NFB Program 17 25 42