These newsreels are shown on the exhibition screens of the regular theaters in those countries. Third, under newsreels, we produce a regular monthly news review which is two reels in length which gives interpretation of significant events occurring each month in terms of our foriegn policy objectives. This is quite a large operation because it reaches 73 countries and it is recorded in 30 different languages. Unlike the other two news operations, this is primarily intended for the nontheatrical distribution. It serves to freshen and enhance the current topical values of our film libraries around the world which are engaged in private nontheatrical distribution. However, it is also used wherever possible in local theaters. That is the picture as to domestic production. As to foreign production, where 60 percent of our pictures would be provided, our experience is that films made in a foreign country with local casts and with background familiar to the people of that country are much more effective than what are to them foreign films. Of course, production quality is not equal to the Hollywood standards, but it is wholly acceptable to local audiences. It is comparable to other entertainment pictures produced locally, and it is considerably less expensive to produce. It is effective, especially in Asia and the Near East. In particular, we produce strong anti-Communist types of pictures for release on an unattributed basis in those countries where the Communists are making efforts at subversion and penetration. The funds in the 1956 budget will permit production, if granted, in 22 countries, which are shown on the chart on the easel here. It shows that the principal production overseas is in the Middle East area and the Far East. To some extent it is in South America. In fact, as to numbers of countries of production, the number in each of those areas is 6 countries, and then 4 additional countries in Europe. Senator KILGORE. Those are where films are produced? Mr. STREIBERT. That is where we would produce them, yes, sir. Now, this is very important, I think, in that these foreign productions are made only in response to requests of the field staff for motion. picture support of the objectives of that country. USE OF FILMS FOR TELEVISION PURPOSES Senator KILGORE. To what extent are the films used for television purposes in foreign countries? Mr. STREIBERT. I am coming to that, sir; the production of these pictures in the country is carried on in constant consultation with the Public Affairs staff and therefore the pictures are designed from the beginning from their conception to be of maximum use in that country, based on field opinion and not on the ideas of people who are located in Washington. Of course, the foreign policy aspects of those pictures, however, are approved in Washington. That takes care of the whole production side of the operation. DISTRIBUTION OF FILMS Now, as to distribution. This has been built up over a number of years. It is a unique method of distribution that is really unparalleled. Nobody else has any kind of a system such as we have. It is rooted primarily in indigenous channels in the countries. It is accepted by host governments and in some cases even distribution beyond our ability to furnish it is requested by the government concerned. The distribution involves these four essential activities: First, producing foreign language versions of pictures so they can be understood in the countries of the different languages; second, making such copies or prints of each picture so as to supply them to all distribution outlets; third, placing the pictures in the distribution channels in countries best calculated to achieve our purpose; and finally, providing and maintaining mobile units needed in each country in order to show the pictures to the groups we want to reach. COOPERATION WITH FOREIGN GOVERNMENTS Senator ELLENDER. In connection with the distribution of these pictures in the various countries have you met with any obstacles by the host countries? Mr. STREIBERT. In isolated cases. Senator ELLENDER. You remember that I brought to your attention last year that in Addis Ababa when I was there, they were having trouble in getting the government there to permit you to carry on these moving pictures. I am wondering if you had any difficulty with any other countries. Mr. STREIBERT. Mr. Damon? Mr. DAMON. Yes, sir, there was that trouble in Ethiopia but when the Emperior came here we made a picture of his visit here. They liked that so much that they opened things up to us. It was through our units and projectors that we were able to get the picture of the Emperior shown in the interior. This has broken the log jam which existed when you were there. Senator ELLENDER. Did that open the door to exhibition of other pictures? Mr. DAMON. Yes. We are now cooperating with the Ethiopian Government. USE OF MOTION PICTURE HOUSES Senator ELLENDER. To what extent, Mr. Streibert, are you able to obtain motion-picture houses in the host countries to exhibit these films? Mr. STREIBERT. I would like to refer to that as I go along, because I do it all the time here in distribution. Senator ELLENDER. You remember that was another suggestion that I made and I felt and I think you agreed with it, that in order to save us the expense of exhibiting these pictures that it might be best. to encourage the picture houses in the various countries to utilize these films free of charge. Mr. STREIBERT. The Emperor showed our pictures to a group in the palace. At one point he invited the diplomatic corps to see some of the pictures so that the result was that some of the Russian representatives were there looking at our pictures. It was gratifying. Senator, as to your question on the getting of the theaters, you note that I referred to it a couple of times in going over the news reels. The big news reel operation we have is entirely on entertainment screens in regular commercial theaters and this monthly two reeler that we get out so widely is in local theaters wherever we can get it. You Senator ELLENDER. Have you any difficulty in getting those films into the countries without having to pay a duty on them? remember I brought that point out also. Mr. STREIBERT. That came out previously, that is right. We do not have the duty to pay. Senator ELLENDER. You have arranged so that you can have them brought in without payment of the tax? FIELD SELECTION OF FILMS Mr. STREIBERT. Yes, sir. On the first of the four methods of distribution, as to the language versions of pictures-which is not fully understood, I believe once a picture has either been acquired from other sources or produced by us, either produced in the United States or overseas, the motion-picture service sends a single copy of that in the English language version-if there is an English language version and if not we frequently make one-to all the countries where it is believed it might serve a useful purpose. Senator ELLENDER. You mean in English? Mr. STREIBERT. Yes. So that our own people can understand it. If it is in a Philippine language, which many of them were, we supply it to the other areas in an English version so that they can understand it. Background information about the film is supplied and the field is requested to determine whether it would be useful in each of their particular countries. Senator ELLENDER (presiding). In that connection, do you consult your field representatives before you make the film available for showing in a particular country? Mr. STREIBERT. Yes, we do. Senator ELLENDER. Who has the final say as to whether or not a certain type of picture should be shown? Mr. STREIBERT. The public-affairs officer in that country. Mr. STREIBERT. Absoutely. He has the say so on that. Senator ELLENDER. You remember when this program first started that I was informed that quite a few films were sent and never shown because they did not fit and would do more harm than good, and we would have them pile up and not be used. Mr. STREIBERT. Here we first ask them whether it would be useful in their country or not; if it is, we will know how many languages are needed, and we also ask for an estimate of the number of prints they feel would be necessary to supply the distribution demand in that country. Senator ELLENDER. Do they see those pictures before they make a selection, or do you supply it to them? Mr. STREIBERT. They see the pictures before they make a selection. We send them a single copy of the picture. They look at it and we send a background material on it. In this way, we have the benefit of the judgment of the field before recording the films in foreign languages and thus insure the greatest possible use being made of each picture. TRANSLATING AND RECORDING IN FOREIGN LANGUAGES The translating and recording of pictures in foreign language requires expensive laboratory and technical facilities, as well as skilled technicians. The cost averages about $350 per reel for each language. Thus when we distribute in 30 languages as we frequently do, the language versions alone cost $10,000 a reel. It may be a single-reel picture, but most are two-reelers or more. Senator KILGORE (presiding). That translation must be keyed to the speed of the picture? Mr. STREIBERT. Yes. Senator KILGORE. That must also match the screen? COST PER REEL PRODUCTION Senator ELLENDER. You say it costs how much per reel? Mr. STREIBERT. $350 per reel, average cost. The bulk of this language recording is done by contract in the United States, but we use facilities in foreign countries where they are available and suitable for our purposes. The commercial motion picture foreign distribution people have a demand for this same kind of service in New York and there are companies that do this and we let it out by contract. We formerly used to do it ourselves, but it is more economical and we may even get a better job done by contracting it out. The second matter of distribution is prints. After a film has been recorded in a foreign language, it is printed and the number of copies required sent to the missions overseas. The number of prints is determined by the method and scale of distribution to be employed and audiences we wish to reach. The cost of a print is $10 a reel for 16 millimeter size and $23 a reel for 35 millimeter, which is the regular theatrical size in black and white. It is approximately four times that for color. Senator KILGORE. In television, the 16 millimeter is what fits, is that right? Mr. STREIBERT. Yes. Senator KILGORE. That is what fits the television projector normally? Mr. STREIBERT. Yes, sir. A typical wide distribution, more or less complete distribution, would require 439 copies of 16-millimeter size, and 22 copies of 35 millimeter for a total cost of $9,000. This plus the language versions thus runs into something like $20,000 a reel; that is, the print and the language versions, for any reasonably widely distributed picture. This is completely exclusive, of course, of the original production costs. This is one of the reasons why this motion-picture program is inherently so expensive. It is not based on high production costs of pictures, but it is cost for prints and these language versions which run to $20,000 for each single reel picture. Third, as to the exhibition channels, we use primarily the nontheatrical or private methods of various kinds. Our own facilities include mobile units with power supply, and we have invitationa showings in our information centers. We loan films out sometimes with projectors to various indigenous local cooperating groups, such as civic associations, labor unions, schools, religious groups. These audiences are all influential segments of the population, people who can be assistance to us in attainment of our objectives in their various countries. We are not trying to show these pictures by our private means to the masses of the public. We are trying to reach target groups and influential people. We have a chart here on the easel of the audience groups. These are some of the kinds of audiences we have around the world who are invited. They are of all kinds. They are specialized groups. They are not people off the street. They are not people that are simply gathered together on a catch-as-catch-can basis. Senator ELLENDER. It is by invitation? Mr. STREIBERT. Yes, sir; even in the almost wholly illiterate countries where we take mobile units to the provinces, we always have the mayor, the appropriate Government officials, and principal officers of the local population sponsoring the showings and seeing the films. COST OF PRODUCING A REEL Senator ELLENDER. In the cost of making a reel, which you have indicated as being $20,000, how much of that is for the actual taking of the picture? Mr. STREIBERT. Nothing. That was the point I was making. Senator ELLENDER. Do you mean to say that that is without production cost? Mr. STREIBERT. That is without production cost. That is for language costs which run about $11,000 and prints necessary to supply our distribution system running about $9,000. Senator ELLENDER. What does it cost to make a reel, let us say? Mr. STREIBERT. It depends on what you are making. It can cost anywhere from a few thousand dollars up to $50,000 a reel. Senator ELLENDER. And reprinting and putting the language in costs as much as the original? Mr. STREIBERT. Or more. Senator ELLENDER. Why is that? Mr. STREIBERT. If somebody gives us a very good picture, that is true. Senator ELLENDER. Why is the cost so great? Is it the translation? Mr. STREIBERT. The cost is $350 for any one language on the average for 1 reel. Senator ELLENDER. That is the synchronization? Mr. STREIBERT. It is not always synchronization. Frequently it is a silent picture and a voice commentary. Just to make a new sound track in any language, be it French or anything else, averages about $350 per reel. Now, if you have 30 languages, that is $10,500 just for the 30 languages for the same picture. Then if you have the number of prints I described, that is another $9,000. So that is $20,000 for prints and language versions with no production costs. Senator ELLENDER. I must have been thinking of something else when you mentioned that $20,000 per reel. Will you tell us again what that covers? |