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Topic: Cinematograph Films Act 1927

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	EH.Net Encyclopedia: The Economic History of the International Film Industry
		In the depression-struck U.S., film was the tenth most profitable industry, and in 1930s France it was the fastest-growing industry, followed by paper and electricity, while in Britain the number of cinema-tickets sold rose to almost one billion a year (Bakker 2001b).
		It is instrumental in the smooth rolling of the film, and in the correcting of the lens for the space between the exposures (Michaelis 1958; Musser 1990: 65-67; Low and Manvell 1948).
		This suggests that sound film did not have a large influence, and that the share of U.S. films was mainly brought down by the introduction of the Cinematograph Films Act in 1927, which set quotas for British films.
	eh.net /encyclopedia/article/bakker.film (7418 words)

	Cinema and film laws
		The Act was repealed by the Cinematograph Films Act 1948.
		This Act abolished the film quota for distributors introduced by the 1927 Act but, while leaving the exhibitors' quota for the supporting programme at 25 per cent, almost doubled the quota for main features from 25 per cent to a record 45 per cent.
		This Act established the British Film Fund Agency, which was to administer the proceeds of the Eady levy, paid by exhibitors on the revenue from cinema ticket sales and distributed to makers of British films under rules to be determined by the Board of Trade (in practice, in proportion to their box office takings).
	www.terramedia.co.uk /law/UK_media_law/cinema_and_film_laws.htm (2352 words)

	screenonline: Cinema Legislation
		The first piece of British legislation specifically aimed at cinemas was the 1909 Cinematograph Act, which introduced a system of licences for cinema owners to ensure the safety of their buildings and audiences (though a side-effect of this legislation was to introduce film censorship).
		A key piece of legislation was the 1927 Cinematograph Films Act, which for the first time established quotas for British films, a move intended to boost the domestic film industry in the face of strong competition from Hollywood, but which had mixed results.
		This Act was modified by further Cinematograph Films Acts in 1938 and 1948, together with the 1960, 1966, 1970 and 1980 Films Acts, all of which were eventually repealed by the 1985 Films Act.
	www.screenonline.org.uk /film/id/790188 (309 words)

	Cinema of the United Kingdom - Wikipedia, the free encyclopedia
		Although many factors can be used to measure the success of the industry, the number of UK films produced per year ([1]) gives an overview of its development: the industry experienced a boom as it first developed in the 1910s, but during the 1920s experienced a recession caused by superior US competition and commercial practices.
		The Cinematograph Films Act 1927 was passed in order to boost local production, requiring that UK cinemas show a certain percentage of British films.
		Peter Greenaway was an early pioneer of the use of computer generated imagery blended with filmed footage and was also one of the first directors to film entirely on high definition video for a cinema release.
	en.wikipedia.org /wiki/Cinema_of_the_United_Kingdom (4886 words)

	BFI \| Film & TV Info \| Researchers' guide \| Legislation: History
		The Cinematograph Films (Animals Act) 1937 was passed to prevent the exhibition and distribution of films in which suffering may have been caused to animals.
		Statutory controls were imposed by the Cinematograph Films Act 1927 in other areas of the film industry, such as the booking of films, quotas for the distribution and renting of British films and the registration of films exhibited to the public.
		This Act was modified by the Cinematograph Films Acts of 1938 and 1948 and the Film Acts 1960, 1966, 1970 and 1980 which were repealed by the Films Act 1985.
	www.bfi.org.uk /filmtvinfo/researchers/legislation/history.html (786 words)

	Dáil Éireann - Volume 15 - 21 April, 1926 - CUSTOMS RESOLUTIONS. - RESOLUTION No. 4—MOTORS, FILMS, MUSICAL ...
		The duty on blank films is one-third of a penny; on positive films containing pictures ready for exhibition, one penny per lineal foot; negative films (that is films containing photographs from which positives can be printed), 5d.
		Cinematograph operators of one or two of what are called “Topical Gazettes” come over for certain national functions, like the St. Patrick's Day parade and things of that kind, and take pictures which are exported, certainly to Great Britain, and probably elsewhere in the world.
		Up to the present, I believe there has been the anomalous situation that the companies who took these films had to pay a double duty; they had to pay a duty on the film coming in, and then had again to pay duty on the film as it was exported.
	www.oireachtas-debates.gov.ie /D/0015/D.0015.192604210011.html (858 words)

	[Cinematograph Films Act, 1927]
		The Act of 1927 abolished blind booking, restricted advance booking and proposed a quota of British films on the renter of 7.5 per cent rising to 20 per cent in 1935, and on the exhibitor of 5 per cent rising to 20 per cent.
		There should be a separate quota for long and short films: that for long films being 20 per cent and 15 per cent for renters and exhibitors respectively, and for short films 15 per cent and 10 per cent.
		Films made in the Empire should be eligible for the quota, but the Government should approach the Dominions to ensure reciprocity of treatment for British films.
	www.bopcris.ac.uk /bopall/ref8001.html (452 words)

	Plymouth's Cinemas by Brian Moseley - Chapter Five (1925 to 1929)
		To comply with section 11, every film had to be marked with the registered number, the name of the person in whose name it was registered, its length, and whether it was registered as a British or a foreign film.
		The filming was done without sound, the dialogue being added back at the studio, but the director did say that he hoped his next out-door film would be recorded complete with sound.
		The film duly appeared under the title "The Unwritten Law" and it emerged that the story was about a woman who sheltered an escaped convict only to discover that he had killed her husband.
	www.plymouthdata.info /CineHistory5.htm (2804 words)

	The Culture-specific use of sound in india cinema (Site not responding. Last check: 2007-10-20)
		Their films spill over with songs and dances and with a lot of music on the soundtrack, sound effects per se, are cleverly sidetracked without hampering the aesthetics of the film.
		Indian film music is said to be the ideal adaptive response of Indian culture to the technologyinspired, jetlike pace of the 20th Century.
		Whether the film is a family melodrama, a historical adventure, a mythological tale, a comedy, a love story or a thriller, songs arc bound to be part of each finished film.
	www.filmsound.org /india (9213 words)

	History of Censorship
		Virtually the only directive given the censor was that no film should be approved which "in the opinion of the censor, depicts any matter that is against public order and decency, or the exhibition of which for any other reason is, in the opinion of the censor, undesirable in the public interest".
		Film distributors were, however, given the right to appeal the censor's decision to a three-person board appointed by the Minister of Internal Affairs.
		THE NEW Film Censorship Regulations which were gazetted last June and which came fully into operation in December are of interest to the public generally, but they should be of very particular interest to teachers, parents, and all others who have any influence over film-going by children.
	www.censorship.govt.nz /public_history.html (2209 words)

	Copyright, Act, 08/04/1963, No. 10 (Site not responding. Last check: 2007-10-20)
		Provided that, for the purposes of the following provisions of this Act, namely, subsections (1) and (2) of section 8, subsections (2) and (3) of section 9, subsections (2) and (3) of section 44, section 50, and subsections (3) to (5) of section 51, this subsection shall not affect the construction of any reference to the publication, or absence of publication, of a work.
		the act of causing the sound recording to be so heard without the payment of equitable remuneration to the owner of the copyright subsisting in the recording shall not, subject to the provisions of the next following subsection of this section, constitute an infringement of the copyright subsisting therein.
		(2) Copyright subsisting in a cinematograph film by virtue of this section shall continue to subsist until the end of the period of fifty years from the end of the year in which the film is first published.
	www.wipo.int /clea/docs_new/en/ie/ie001en.html (9281 words)

	screenonline: Ghost Train, The (1927)
		Train passengers become stranded on a platform late at night, and are told by the stationmaster to beware of the phantom 'ghost train' that is said to haunt the station.
		(1927) and its imposition of quotas limiting foreign films.
		The film, coming only two years after the play's release, was therefore a major production.
	www.screenonline.org.uk /film/id/504872/index.html (251 words)

	Dáil Éireann - Volume 167 - 23 April, 1958 - Financial Resolutions. - Resolution No. 6—Cinematograph Films.
		(1) That the duty of customs on cinematograph films imposed by section 17 of the Finance Act, 1932 (No. 20 of 1932), as amended by subsequent enactments, shall not be charged or levied on any article imported on or after the 24th day of April, 1958.
		We discovered that the same films were being shown night after night because the cinema people had found in that a means by which they could evade duty.
		I suggest that the film industry in this country is in the hands of certain combines and these combines are controlled exclusively from outside the State.
	historical-debates.oireachtas.ie /D/0167/D.0167.195804230037.html (1149 words)

	The Probert Encyclopaediat
		Depending on its concentration, sulfuric acid acts on cellulose to produce glucose, soluble starch, or amyloid; the last is a form of starch used for the coating of parchment paper.
		The Cinematograph Films Act of 1927 was a British act of Parliament which came into force on April 1st 1928 for a ten year period until March 31st 1938.
		The act required that British renters of films included in their output a certain proportion of films made in the British Empire.
	www.david-pye.com /probert/A31.php (12308 words)

	Kev’s Cupboard @ EOFFTV » 18: “Quota Quickies”
		The FBI set up a film producers’ group and drafted a proposal which suggested an ad valorem tariff system in which films were taxed on the commercial value of their exploitation in Britain.
		In March 1927, the Cinematograph Films Bill was presented to the House of Commons, passed its third reading in November of that year, was debated in the Lords in December and subsequently became the Cinematograph Films Act of 1927.
		With 20% of films on British screens having to be home made, that product had to come from somewhere and it quickly became clear that what was let of the industry simply wasn’t up to the task.
	www.eofftv.com /cupboard/?page_id=23 (1765 words)

	NationMaster - Encyclopedia: Michael Latham Powell
		The film was excoriated by British critics, who were offended by its Freudian overtones and challenged by its reflexive subtext, and Powell was ostracised by the film industry and found it almost impossible to work thereafter.
		Thriller films are movies that primarily use action and suspense to engage the audience.
		The Thief of Bagdad is a 1924 swashbuckler film which tells the story of a thief who falls in love with the daughter of the Caliph.
	www.nationmaster.com /encyclopedia/Michael-Latham-Powell (1624 words)

	ELGAR _ Electronic Gateway to Archives at Rylands :: Display in Full (Site not responding. Last check: 2007-10-20)
		Contains cuttings relating to this film which starred RD and Deborah Kerr, and was produced and directed by Alexander Korda as the first film made under the London Films arrangement with MGM; it was released in America as Vacation from Marriage.
		Topics covered include: initial plans for a film based on the life of William Friese-Greene, the inventor of cinematography; speculation about who should take the title role and its award to RD in October 1950; casting; and progress with filming, including a visit to the studios by the Queen and Princess Margaret to watch filming.
		Directed by Charles Frend, the film was originally to be called West Window and it is referred to by this title in some of the cuttings.
	archives.li.man.ac.uk /ead/html/gb-0133-frd-p11.shtml (3803 words)

	courses
		A lot of this was due to the Cinematograph Films Act of 1927, which stipulated that exhibitors were to screen a quota of British-originated films, beginning at 5% and rising to 20% by 1937, and offering protection to the British film industry against American competition.
		The 1927 Act made possible the emergence of a studio system similar to that of Hollywood.
		The success of Alexander Korda made film a lucrative investment on the London stockmarket, but in January 1937 it was evident that the British film industry was on the decline.
	www.uni-potsdam.de /u/anglistik/drexler/kulturwi/pagedrexler/courses/brit_film_3.html (533 words)

	100 years of cinema exhibition in Europe - UK
		Films soon found a regular place on music-hall programmes, with 'operators' rushing from hall to hall to present their 'turn'.
		One was the ever-present fear of fire sweeping through darkened halls, especially with highly flammable film stock still the norm; and the other was a desire by those who disapproved of moving pictures to censor what was being shown.
		Films were changing rapidly, and far fewer of them were British-made.
	www.mediasalles.it /ybkcent/ybk95_uk.htm (4454 words)

	Movie Timeline: 1930 - 1939
		The British Film Institute is established to âencourage the development of the art of the filmâ.
		In Britain, the sliding formula of the âCinematograph Films Act of 1927â now requires that 20% of the films shown in British cinemas have to be produced in Great Britain.
		The French film producer, Georges Méliès, who was one of the most innovative pioneers in the early days of motion pictures, dies at the age of 78.
	www.pictureshowman.com /timeline_1930_1939.cfm (3581 words)

	Dáil Éireann - Volume 23 - 25 April, 1928 - No. 7—CUSTOMS.
		This is a resolution which we have each year continuing what we call the McKenna duties, with the exception of the duty on motor cars, which we have dealt with in a separate resolution because we were extending the scope of it.
		These particular duties are on cinematograph films, clocks, watches and musical instruments.
		The yield of the duty on films in the year 1927-28 was £17,450; on clocks and watches, £14,540; and on musical instruments, £25,590.
	historical-debates.oireachtas.ie /D/0023/D.0023.192804250047.html (169 words)

	In Praise of the Quota
		The 1927 Cinematograph Films Act was designed to stop the decline of the British film industry.
		This was placed at 7.5% for distributors and 5% for exhibitors gradually rising to 20% for both by the end of the Act’s 10 year duration.
		There were plenty of decent films to choose from, why show a crap one unless you’re forced by the distributor.
	www.britishpictures.com /articles/quota.htm (871 words)

	British Film in the Thirties
		By 1936 the Moyne Committee more emphatic: "film is undoubtedly a most important factor in the education of all classes of the community, in the spread of national culture and in presenting national ideas and customs to the world...
		Financing and the lack of consolidated home-grown film industry in the period partly accounts for this, and British films often perceived as being inferior (stagey, or quota-quickies).
		Since 1927 Government attempts to protect native film industry, mainly through demands for quotas, (20% of exhibited films1933-8), but the system had not been entirely successful: "quota quickies" held little attraction for audiences, and some "quickies" had to be shown when cinemas were closed for cleaning!.
	www.newi.ac.uk /rdover/medcult/thirties.htm (944 words)

	House of Commons - Culture, Media and Sport - Sixth Report (Site not responding. Last check: 2007-10-20)
		Thus the British film industry is seen as an under-capitalised, risky, 'cottage' industry[63] made up of many single project vehicles not grounded in the vital distribution function through which revenue for future productions — the slate — is realised.
		The distribution machines[79] are able to get a huge number of films into cinemas every year and the exhibitors are dependent on them for the range and number of films they receive (and at which stage of release).[80] The terms under which an exhibitor receives films from a distributor can vary greatly.
		The film franchise system was recommended by the Advisory Committee on Film Finance.[102] The three were allocated a total of £95 million in 1997 and since then they have produced, or committed to producing, 47 films (DNA: 6,[103] Film Consortium: 22,[104] and Pathé: 19[105]) between them.
	www.parliament.the-stationery-office.co.uk /pa/cm200203/cmselect/cmcumeds/667/66706.htm (4948 words)

	Review of Hollywood's Canada by Joyce Nelson
		When Britain passed the Cinematograph Films Act in 1927, requiring that an increasing percentage of all films rented for exhibition in British theaters be of British origin, any films produced in the Empire qualified, provided that 75% of the salaries be paid to British subjects.
		The post-World War II years, when European film industries blossomed through a variety of restrictions on Hollywood’s lucrative impulses, were no more favorable to Canada, still victimized by Hollywood’s powerful lobby against government restriction.
		Film exhibition throughout Canada is controlled by two major theater chains, Famous Players and Odeon.
	www.ejumpcut.org /archive/onlinessays/jc12-13folder/hollywdcanada.html (1977 words)

	Buy British \| TIME
		The mushroom growth of British films which had followed the promising early years of the ten-year plan began to wither.
		When the 1927 quota act expired on March 31, only three percent of the 640 British producers registered in the last ten years were still doing business.
		For films representing labor costs of $112,500, two quota credits will be allowed, and for labor costs of $187,500, three quota credits.
	www.time.com /time/magazine/article/0,9171,759434,00.html (798 words)

	Home Page
		During the 35 years of silent cinema, a great number of films were made in Calcutta, Bombay, Poona, Nasik, Kolhapur,Hyderabad, Bangalore and Madras by a galaxy of film directors and producers and, the screen performers became living legends during their life time.
		The art of film making, directing, acting and cinematography developed at this time and the cumulative experience made the evolution into "Talkies" eminently feasible and successful as an effective communication medium and art form.
		His life long commitment combined with abiding interest in the subject and background as a talented journalist and film maker has made him a renowned authority on the subject of Indian Cinema.
	www.filmologist.4mg.com (397 words)

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