Africa: market for American films, 98–101 passim; UNESCO and informational needs of, 100-01
Aldrich, Robert: 175
Allied High Commission: and film in West Germany, 103; trade restrictions policy, 103
Allied States Association of Motion Picture Exhibitors: 12
American Motion Picture Export Company (Africa): established, 100; relation to MPEA, 100; and Webb-Pomerene Export Trade Act, 100
And God Created Woman: 73, 86
Andreotti, Giulio: 26
Andreotti Act: and importation, 24-25, 39; and production loans, 150; and neo-realism, 218n14
Antitrust: impact on American industry, 9-10; and competition, 10; and foreign films in American market, 70; and deconcentration program, 224n34
Arnall, Ellis: 81, 82
Asquith, Anthony: 178
Association Professionnelle des Cinéastes: 180, 228n1
Association Suisse des Distributees de Films: American membership in, 113
Associazione Nazionale Industrie Cinematografiche ed Affini: film agreement with MPEA, 13, 26, 59, 76-79, 106, 122, 175–176; relations with MPEA, 25-26; and unremittable American earnings, 122
Austria: film importation, 47-48; as market for American films, 47-48 — film industry: and coproduction, 190
Banca Nazionale del Lavoro: 24; loans to production, 150
Barabbas: 86, 230n27
Baremo: defined, 27; and American companies, 28–32
Bataille du Rail, La: 175
Behold a Pale Horse: 218n20
Belgium: film agreement with MPEA, 18; Chambre Syndicate Belge de la Cinématographic, 112-13; national film, defined, 152; production subsidy, 152-53; coproduction agreement, 195 — film industry: American investment in, 166
Benton, William: 124-25
Bicycle Thief: 178
Blum, Léon: 21
Born Free: 167
Boycott by MPEA: of Britain, 18-19, 44-45 of Spain, 28, 43-44, 93-94; of Denmark, 41-42, 58-59, 93-94, 115, 116; relation to American production decline, 116
Bridge on the River Kwai: 84
British Film Fund Agency: 153-54
British Film Producers Association: on foreign earnings of British films, 13-14; on French import quota, 22-23; on screen quota, 34; on allocation of production subsidy, 118-19; on American investment, 118-19, 171; on production subsidy, 153; on subsidy payments to American subsidiaries, 155; American membership in, 167-68
British Film Production Fund: operation, 154; rates of payment compared to other countries, 156; and American subsidiaries, 167-68, 170-71
British Monopolies Commission: 172
Buena Vista: 100
Byrnes, James: 21
Cabinet of Dr. Caligari, The: 8
Canadian Film Development Corporation: 227n34
Chambre Syndicate Belge de la Cinématographic: American membership in, 112–13
Clément, René.’ 175
Cleopatra: 10, 169, 216n5
Columbia Pictures: 12, 22, 26, 28, 31, 73, 84, 100, 167, 194, 218n20
Common Market: see European Economic Community
Content: of American films, changes in, 11-12; and culture, 15; and America’s image, 127; and financing, 172, 178, 198-99, 223n4; and film nationality, 176, 178; of Euro-American films, 176, 178; of Italian films, 178; of British films, 178; internationalization of, 178, 198-99
Coproduction: Euro-American, impact on content, 12; defined, 181; and film nationality, 181; and production subsidies, 181; and quotas, 181; importance to European film industry, 181, 182; beginnings, 181-82; and production costs, 182, 184, 190-92; tripart films, 188, 190, 192; and EEC, 190, 196-97
– agreements: purpose of, 192-93; tripart, 193-94; details of, 193-95; quadpart, 194; overlapping nature of, 194-95; precedents for, 195-96; merging of, 196-97
– French: compared to national films, 182, 184-88; investment in, 186-87
– Italian: investment in, 190-92
– Spanish: compared to national films, 182
Davis, John: 76, 155
Denmark: MPEA boycott of, 41-42, 58-59, 93-94, 115, 116; as market for American films, 41-43, 58-59, 115-16; film importation, 41-43; box office receipts, 58-59; rental policy, 115-16; film prizes, 146
Department of State, 21, 33, 80-82; content of American films, 12; and West German film market, 104, 105, 134; and American films in Norway, 114
Devil’s Disciple, The: 168
Distribution: economics of, 8; in United States, 87-89; in West Germany, 131; French subsidy to, 144-45
– American: in France, 60-61; in Norway, 61-62; in Britain, 62, 63
– international: and American companies, 14, 74, 171, 200-01; of European films, 179
Dr. Strangelove: 168
Dulles, John Foster: 81
Dutchman: 170
Duty, import: 18-19; in Italy, 24-25; in United Kingdom, 44-45
Earnings, unremittable American: 71, 72; in Britain, 19, 122; in France, 19, 122; in Italy, 26, 121-22; in Europe, 120-22; in West Germany, 131; and IMG Program in West Germany, 132-34; and American investment, 164-65; and American production in Italy, 175-76
El Cid: 174, 230n27
Entertainer, The: 73
Erhard, Ludwig: 140
Europe: as market for American films, 8-9, 23, 164; American film revenue in, 10-11, 66
– film industry: impact of World War I on, 8-9; impact of American exportation on, 17; attitude toward American investment, 97, 201; characteristic of, 142; relation to governments, 144; EEC policy toward, 161-62; and coproduction, 181; craft aspect, 199
European Economic Community: and film industry, 95-96; American industry attitude toward, 96-98; and American investment, 97; members’ production subsidies, 158, 159; harmonization of subsidies, 160, 161-63; policy on subsidies, 161-62; and European film production, 178-79, 180; coproduction among members, 190; coproduction agreements in, 194, 195; and coproduction, 196-97
– films of: and French distribution subsidy, 145; and Italian prizes, 146
Exhibition: divorced from production and distribution, 10; in West Germany, 129; Italian subsidy to, 145
Fair Bride, The: 230n27
Federal Trade Commission: 78-79, 220n15
Federation of British Film Makers: on foreign earnings of British films, 14; on American production in Britain, 119-20; American membership in, 120, 167-68; on subsidies to American subsidiaries, 168; on American investment, 172
Fédération Nationale des Distributeurs de Films: American membership in, 111-12
Film: as communication, 4, 95, 143, 149, 178, 180, 198-99, 202-03; as business, 7-8, 95, 142-43, 198, 200, 201, 203
Film bank: purposes, 146-47; National Film Finance Corporation, 147-49
Film nationality: 162-63; changes in, 52, 229n27; Belgian, defined, 152; British, defined, 155; British, relation to American investment, 167; French, defined, 157; French, relation to American investment, 173-74; Italian, defined, 158-59; Italian, relation to American investment, 174; and content, 176, 178; need for redefinition, 179; and coproduction, 181
Film production: financial aid to, in Europe, 144, 145; in West Germany, 102-3; in Britain, and NFFC, 147-49; in Belgium, and subsidy, 152-53; dependence on foreign markets, 198
Film Production Association of Great Britain: 149
Films, foreign: in American market, 68-74 passim, 83, 89; number of, in American market, 85; revenues in American market, 86-89
Finland: film importation, 48, 51; as market for American films, 48, 51
Foreman, Carl: 167, 227n35
France: as market for American films, 8, 19-22 passim, 54-55, 60-61, 64-66 passim; film agreement with United States, 19, 21-22, 175; film agreement with MPEA, 23-24, 80-81, 122; unremittable American earnings in, 19, 122; film production in, 21, 22; screen quota, 21-22, 36; import quota, 21-24 passim; as market for British films, 22-23; liberal trade policy, 23-24; box office receipts, 54-55, 60-61; number of films circulating in, 64-66; Fédération Nationale des Distributeurs de Films, 111; distribution subsidy, 144-45; production subsidy, 156-58; production subsidy and American investment, 165-66; national film defined, 157; policy on subsidization, 161; production costs, 184-88, 190-92; coproduction agreements, 193-95
– film industry: American investment in, 164-66, 173-74, 200; and coproduction, 181, 182, 188; coproductions and national films compared, 182, 184-88; investment in coproduction, 186-87
– films of: in American market, 13, 80-83; revenues in American market, 86
Freeman, Y. Frank: 128
From Russia With Love: 86
Fulbright, J. William: 121, 127
Gervaise: 73
Goldfinger: 89, 171
Griffis, Stanton: 222n3
Gross, H. R.: 134
Grupo Sindical de Distribucion Cinematografica: American membership in, 110
Guns of Navarone: 167, 171, 220n24
Hard Day’s Night, A: 86
Hawk Films Ltd.: 167
Hecht-Hill-Lancaster Films Ltd.: 168
Hetzel, Ralph: 116
Horizon Pictures (G.B.) Ltd.: 167
Hyman, Edward L.: 71
Independent Motion Picture Distributors Association of America: 77-79, 81, 220n15
Informational Media Guaranty Program: established, 132; and propaganda, 132; and unremittable American earnings, 132-34
– contracts: with MPEA, 133-34; with print media, 224n21
– and West Germany: 132-34 passim; American film policy in, 134; film shortage in, 134
Investment, American: in British film industry, 14, 62, 86, 89, 148-49, 164-66, 169, 171-73, 200, 201-02; in European film industry, 74, 175; in Italian film industry, 86, 164-66, 173-76 passim, 200; and EEC, 97; in French film industry, 164-66, 173-74, 200; relation to production subsidy, 165–66; in Belgian film industry, 166; in Dutch film industry, 166; in Swedish film industry, 166; and British film nationality, 167; in Spanish film industry, 200
Ireland: film importation, 42-43; as market for American films, 42-43
Is Paris Burning?: 175, 185
Italian Film Export: 13, 77-80, 220n15
Italy: as market for American films, 8-9, 20, 24-27, 38-40, 45-46, 52-54; film production in, 24, 46; import quota, 24, 26-27, 39; screen quota, 24, 25, 36; unremittable American earnings in, 26, 121-22, 175-76; film agreement with MPEA, 26, 39, 76-79, 106, 122, 175-76, 220n15; film importation, 38-40, 45-46; box office receipts, 52-54; exhibition subsidy, 145; film prizes, 146; production loans, 150-51; national film, defined, 158-59; production subsidy, 158-59; production subsidy, and American investment, 165-66; policy on subsidization, 161; attitude toward American investment, 175; coproduction agreements, 193-95
– film industry: American investment in, 86, 164-66, 173-76 passim, 200; production costs, 190-92; and coproduction, 181, 182, 188; investment in coproduction, 190-92
– films of: in American market, 12-13, 76-80 passim; revenues from American market, 86; changes in content, 178
Johnston, Eric: 200, 222n15; on importance of foreign markets, 3, 108; on American market, 10; on American film content, 11; on American film exportation, 16; on trade liberalization, 36; on foreign films in American market, 74, 79, 82; on industry unity, 93; on EEC, 96; on developing new markets, 98-100; on unremittable earnings, 121; on propaganda, 126-27; on American films in West Germany, 128-29
Kaitlin Productions: 170
Key, The: 167
Kidnapped: 220n24
Kinematograph Renters Society: 102
Kingsley-International: 73
Knack, The: 73
Kracauer, Siegfried: 15, 178
Kubrick, Stanley: 167
Lady Killers, The: 73
Last Year at Marienbad: 221n27
Lawrence of Arabia: 167
Legion of Decency: 73
Loans: 227n34; to production, 146-51; to British films, 147-49; to Spanish films, 149; to Dutch films, 149-50; to Norwegian films, 150; to West German films, 150; to Italian films, 150-51; compared to subsidies and prizes, 151
Longest Day, The: 10
Lopert Pictures: 73, 75
Malta United Film Company: 102
Mann, Anthony: 174
Mark, The: 73
Marshall Plan: 23
McClure, Robert A.: 131
Metro-Goldwyn-Mayer: 22, 26, 28, 30, 100, 167, 218n20
Military Government: in West Germany, 129-31 passim; American film companies’ policy toward, 129-30; and American films in West Germany, 131; and West German film industry, 131; and unremittable American earnings, 131; confiscation of UFI properties, 136
Mon Oncle: 73
Monogram Pictures: 22
Motion Picture Export Association: on protection of European film industries, 21; relations with ANICA, 25-26; on British screen quota, 33; purpose of, 91-92; unity as policy, 93; trade policy, 94-95; attitude toward EEC, 96-97; and African market, 98-101; and American Motion Picture Export Company (Africa), 100; and Malta United Film Company, 102; and propaganda in American films, 104; policy in West Germany, 104-107 passim, 131; and trade restrictions in West Germany, 105-06, 117-18; and Spain, 110; and the Netherlands, 111; and Norway, 114; and Military Government, 131; contracts with IMG Program, 133-34; attitude toward UFI, 135
– film agreements with: Italy, 13, 26, 39, 76-79, 106, 122, 175-76; Belgium, 18; Britain, 19, 122; France, 23-24, 80-81, 122; Spain, 27-28; foreign countries, 220n15
– boycott of: Britain, 18-19, 44_45; Spain, 28, 43-44. 93-94; Denmark, 41-42, 58-59, 93-94, 115, 116
Mouse That Roared, The: 167
Mutiny on the Bounty: 10
National Catholic Office for Motion Pictures: 73
National Film Finance Corporation: financing of British films, 148-49; policy of Film Production Association of Great Britain toward, 149; on American investment, 169, 171; on production costs, 184, 231n5
Nationality of film: 162-63; changes of, 52, 229n27; relation to American investment, 167, 173-74; and content, 176, 178; need for redefinition, 179; and coproduction, 181
– defined: Belgian, 152; British, 155; French, 157; Italian, 158-59
Nederlandsche Bioscoop-Bond: American membership in, 110-11; production loans, 149-50
Netherlands, The: film importation, 40; as market for American films, 40, 59-60; box office receipts, 59-60; Nederlandsche Bioscoop-Bond, 110-11; production loans, 149-50; American investment in, 166
Never on Sunday: 73, 87
Night of the Generals, The: 194
Norway: film importation, 48, 50; as market for American films, 48, 50, 61-62, 113-14; film distribution in, 61-62; rental policy, 113-14; film prizes, 145-46; production loans, 150
Open Road Films Ltd.: 167
Paramount Pictures: 9-12 passim, 22, 26, 28, 31, 100, 127-28, 167, 175, 218n20, 222n3
Phaedra: 73
Prizes: 227n34; in Sweden, 145; in Norway, 145-46; aid to production, 145-46; in West Germany, 146; in Denmark, 146; in Italy, 146; as effective aid, 146; compared to subsidies and loans, 151
Production Code: 71
Production Code Administration: 11, 73
Production costs: and exportation, 8, 10-11; in United States, 10; and American investment, 166; and coproduction, 182, 184, 190-92; in Britain, 184, 231n5; in France, 184-88; and French coproductions, 190-92; and Italian coproductions, 190-92; and Spanish coproductions, 192; and co-production agreements, 193; and internationalization, 198
Production subsidy: 227n35; and runaway production, 72; United Artists and, 94-95; rationale of, 144; compared to prizes and loans, 151; arguments against, 151-52, 226n16; integration under EEC, 162-63; as effective aid, 163; relation to American investment, 165-66; and coproduction, 181
– in Britain: 62, 118-19, 153-56, 169, 170; John Davis on, 155; and payments to American subsidiaries, 168, 170-71
– in Belgium: 152-53
– in France: 156-58
– in Italy: 158-59
– in West Germany: 159-60
Propaganda: and American films, 12, 23, 82, 104, 124-28 passim, 200; and African market, 100; and American government policy, 125; and West Germany, 128; and IMG Program, 132
Protection of film industries: need for in Europe, 15, 35; and American exportation, 16-20; rationale, 17-20 passim; need for in large markets, 20; and EEC, 96-97; in West Germany, 103
Pursuit of the Graf Spee: 76
Quota, import: 35, 179; and American films, 17; in small markets, 19-20; in France, 19-24 passim; in Europe, 20-21; in Italy, 24, 26-27, 39; in Spain, 27-32; contrary to free trade, 94; in West Germany, 104-05, 134; and coproduction, 181
– screen: 179; in Europe, 20-21, 36; in France, 21-22, 36; in Italy, 24, 25, 36; in Spain, 36; contrary to free trade, 94; and coproduction, 181
– screen, in Britain: 32-35, 173; MPEA attitude on, 33; impact on production, 34
Rank Film Distributors of America: 75-76
Rank Organisation: 75-76
Republic Pictures: 22, 26
Ritt, Martin: 168
RKO: 22, 26
Room at the Top: 73
Runaway production: 19, 72, 97, 165
Salem Films Ltd.: 168
Saturday Night and Sunday Morning: 73
Season of Passion: 168
Skouras, Spyros: 125
Society of Independent Motion Picture Producers: 81
Sodom and Gomorrah: 86, 174-75, 178, 229n27
Spain: film agreement with MPEA, 27-28; import quota on American films, 27-32; as market for American films, 27-32, 43-44, 222n3, 218n20; MPEA boycott of, 28, 43-44, 93-94; screen quota, 36; film importation, 43-44; Grupo Sindical de Distribucion Cinematografica, 110; production loans, 149; coproduction agreements, 193-94
– film industry: and coproduction, 182, 188, 190; coproductions and national films compared, 182; production costs, 192; American investment in, 200
Spiegel, Sam: 84, 167, 194
Spitzenorganisation der Filmwirtschaft: and trade restrictions, 103: and restrictions on American films, 105; purposes, 117; American membership in, 117-18
Spy Who Came In From the Cold, The: 168
Subsidy: see Distribution; Exhibition; Production Subsidy
Sweden: film importation, 48, 49; as market for American films, 48, 49; Swedish Film Institute, 145
– film industry: American investment in, 166
Swedish Film Institute: film prizes, 145
Swiss Family Robinson: 220n24
Switzerland: film importation, 40-41; as market for American films, 40-41; Association Suisse des Distributees de Films, 113; rental policy, 113
Taste of Honey, A: 73
Television: 9, 70-71, 198, 216n5
That Man From Rio: 73
Third Man on the Mountain: 220n24
Thunderball: 89
To Paris With Love: 73
Tom Jones: 86, 171
Trade, free: and quotas, 94; and MPEA policy, 94-95
Trade associations, European: American influence in, 109, 111-13, 117-20; American membership in, 108, 109, 119-20, 167-68
Trade liberalization: in Europe, 35, 36
Trade restrictions: in Africa and MPEA, 99-100; and American film industry, 101; need for in West Germany, 103
Train, The: 175
Twentieth Century-Fox: 22, 26, 28, 31, 100, 120, 167, 169, 218n20
UNESCO: on European film industries, 16-17, 25; and film production in Africa, 100-01
United Artists: 11, 22, 26, 73, 86, 89, 94-95. 100, 120, 167
United Kingdom: as market for American films, 8, 13, 20, 33-35, 44-45, 55-56, 62-63; import duty, 18-19, 44-45; MPEA boycott of, 18-19, 44-45; film agreement with MPEA, 19, 122; unremittable American earnings in, 19, 122; screen quota, 32-35; MPEA attitude on screen quota, 33; screen quota and production, 34; number of theatres, 34; film importation, 44-45; film production, 45; box office receipts, 55-56; production subsidy, 62, 118-19; production subsidy and American investment, 165-66; subsidy payments to American subsidiaries, 168; attitude toward American subsidiaries, 168-69; film distribution in, 62, 63; British Film Producers Association, 118-19; Federation of British Film Makers, 119-20; National Film Finance Corporation, 147-49; British Film Production Fund, 153-54; national film, defined, 155; American subsidiaries in, 167-68; coproduction, 194
– film industry: American investment in, 14, 62, 86, 89, 148-49, 156, 164-66, 169, 200, 201-02; attitude toward American industry, 14; impact of World War II on, 32; and screen quota, 34; as branch of Hollywood, 172-73; production costs, 184, 231n5
– films of: dependence upon foreign markets, 13-14; in United States, 13-14, 75-76, 86, 89; distributed by American companies, 14, 62, 63; in France, 22-23; success abroad, 172; content of, 178
United States: film agreement with France, 19, 21-22, 175; box office receipts for foreign films, 86-89
– as market for: American films, 10-11; Italian films, 12-13, 76-80 passim, 86; British films, 13-14, 75-76, 86; Spanish films, 27-28; foreign films, 68-70, 72-74 passim, 83-89; French films, 80-83, 86
– film companies and distribution: in France, 60-61; in Norway, 61-62; in Britain, 62-63; international, 74, 171, 200-01
– film companies’ policy: in West Germany, 106, 129-31, 134; in Spain, 110; in Belgium, 112-13; in Norway, 113-14; in Denmark, 115-16; on propaganda, 125-28 passim; toward Military Government, 129-30
– film companies as members of: European trade associations, 108, 109; Nederlandsche Bioscoop-Bond, 110-11; Fédération Nationale des Distributeurs de Films, 111-12; Chambre Syndicate Belge de la Cinématographic, 112-13; Association Suisse des Distributeurs de Films, 113; Spitzenorganisation der Filmwirtschaft, 117-18; Federation of British Film Makers, 120, 167-68; British Film Producers Association, 167-68
– film companies’ unremittable earnings: in France, 19, 122; in Britain, 19, 122; in Italy, 26, 121-22, 175-76; in Europe, 120-22; in West Germany, 130-31; policy on, 164-65
– film industry: characteristics of early, 8-9; impact of World War I on, 8-9; dependence on foreign markets, 10-11, 72, 108, 164; British attitude toward, 14; production decline, 24, 49-52, 70; unity in, 92-93; attitude toward EEC, 96-98; attitude toward African market, 98-101 passim; relation to government, 124-28, 141, 143-44, 192-200; and German re-education program, 128-29; attitude toward monopoly in West Germany, 135, 139
– films of, in: France, 8, 19, 21-22, 23, 64-66; Britain, 8, 18-19, 44-45: Italy, 8-9, 24, 25-27, 38-40, 45-46; Europe, 16-20, 23, 35; Spain, 27-32, 43-44; the Netherlands, 40; Switzerland, 40-41; Denmark, 41-43; Ireland, 42-43; West Germany, 46-47, 62, 64, 102-07 passim; Austria, 47-48; Sweden, 48, 49; Norway, 48, 50; Finland, 48, 51
– films of, revenue from: Italy, 52-54; France, 54-55, 61; Britain, 55-56; West Germany, 56-57; Denmark, 58-59; the Netherlands, 59-60; Europe, 66, 87
Universal Pictures: 22, 26
Universum Filmindustrie: as monopoly, 134-35; MPEA attitude toward, 135; and Military Government, 136; and deconcentration, 136-40 passim; and German economic miracle, 140-41
Valenti, Jack: 141, 200
Variety: on foreign film earnings in United States, 83-88 passim
Viva Maria: 175
Walt Disney Productions Ltd.: 120, 167
Wanger, Walter: 169
Warner Brothers: 22, 28, 31, 62, 100, 120, 167, 218n20
Webb-Pomerene Export Trade Act: provisions, 91-92; and film industry, 94; and American Motion Picture Export Company (Africa), 100
West Germany: as market for American films, 20, 46-47, 56-57, 102-07 passim, 130, 133; film importation 46-47; film production, 47, 102-03; box office receipts, 56-57; age of films released in, 62, 64; trade restrictions, need for, 103; import quota, 104-05, 134; Spitzenorganisation der Filmwirtschaft, 117-18; and American propaganda, 124; re-education program in, 128; and Military Government, 129-31; unremittable American earnings in, 130, 131; film shortage, 130-31, 134; and IMG Program, 132-34; Universum Filmindustrie, 134-35, 136; film prizes, 146; production loans, 150; production subsidy, 159-60; policy on subsidization, 161; coproduction agreements, 193-95
– film industry: economic condition of, 106-07; monopoly in, 134-35; American attitude toward monopoly in, 135, 139; deconcentration of, 136-40; opposition to deconcentration of, 137-38; relation to government, 160-61; coproduction, 182, 188, 190
Wilson, Harold: 14
World of Suzie Wong, The: 220n24