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In recent years, an alternative view has arisen among film historians, such as
Lawrence Napper, who have argued that the quota quickie has been too casually dismissed, and is of particular cultural and historical value because such films often contained performances unique to British popular culture,
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An Act to make further provision for securing the renting and exhibition of a certain proportion of
British cinematograph films, and for restricting blind booking and advance booking of cinematograph films; to make provision as to the wages and conditions of employment of persons employed by makers
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The act introduced a requirement for
British cinemas to show a quota of British films for a duration of 10 years. Its supporters believed that it would promote the emergence of a vertically integrated film industry, with production, distribution and exhibition infrastructure controlled by the same
185:
By creating an obligatory market-section for
British films, it was hoped that the increased economic activity in the production sector would lead to the growth of a self-sustaining industry. The quota was initially set at 7.5% for exhibitors but was raised to 20% in 1935. The films included those
217:— films that promised quick financial return despite modest production investment. They were mostly low-cost, low-quality, quickly produced films, commissioned by American distributors active in the UK or Canada, or by British cinema owners purely to satisfy the quota requirements.
202:
At least 75% of the salaries must be paid to
British subjects, excluding the costs of two persons, at least one of whom must be an actor. (That provision allowed for a British film to include a highly paid non-British star, producer or director but still be regarded as a British
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The act is not generally considered a success. It fostered speculative investment in lavishly budgeted features for which production costs could not have been recouped on the domestic market, and it was criticised for the emergence of opportunistic
65:
An Act to restrict blind booking and advance booking of cinematograph films, and to secure the renting and exhibition of a certain proportion of
British films, and for purposes connected therewith.
182:, the intention was to counter Hollywood's perceived economic and cultural dominance by promoting similar business practices among British studios, distributors and cinema chains.
328:, which removed films shot in British Empire countries from the quota. It was, in turn, amended by further acts, and it was eventually repealed by the Films Act 1960.
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The author of the scenario or the original work on which the screenplay was based must be a
British subject.
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452:, James Curran & Vincent Porter (eds.), London, Weidenfeld & Nicolson, 1983, pp. 59–73.
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473:'The British Film Industry's Production Sector Difficulties in the Late 1930s', John Sedgwick,
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The Epic That Never Was ~ I, Claudius (1937) ~ Charles
Laughton ~ 1965 BBC-TV Documentary
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of cinematograph films; and to provide for purposes connected with the matters aforesaid.
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490:(2nd edition), Robert Murphy (ed.), London, BFI Publishing, 2001, pp. 37–47.
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Studio scenes must be photographed within a film studio in the
British Empire.
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Lawrence Napper, 'A Despicable
Tradition? Quota Quickies in the 1930s' in
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The Unknown 1930s: An Alternative History of the British Cinema 1929–1939
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The Age of the Dream Palace: Cinema and Society in Britain, 1930–39
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Summary of film-related legislation on the UK parliament's website
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Cinema and State: The Film Industry and the Government, 1927–1984
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The film must be made by a British or British-controlled company.
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Michael Chanan, 'State Protection of a Beleaguered Industry' in
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A British film was defined according to the following criteria:
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had rapid growth in the years immediately following the end of
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445:, Jeffrey Dell, London & Toronto, William Heinemann, 1939.
340:, that would not have been filmed under normal circumstances.
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on 22 December 1927 and came into force on 1 April 1928.
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shot in British dominions such as Canada and Australia.
483:, Jeffrey Richards, Manchester, I.B. Tauris (2001).
495:Quota Quickies: The Birth of the British ‘B’ Film
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475:Historical Journal of Film, Radio and Television
468:Dissolving Views: Key Writings on British Cinema
352:, a list of films produced to fulfill this quota
470:, Andrew Higson (ed.), London, Cassell, 1996.
458:, Jeffrey Richards, London, Routledge, 1984.
176:vertically integrated American film industry
550:History of mass media in the United Kingdom
535:Repealed United Kingdom Acts of Parliament
27:Act to stimulate the British film industry
477:, vol. 17, no. 1 (1997), pp. 49–66.
497:(London: British Film Institute, 2007)
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525:United Kingdom Acts of Parliament 1927
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317:Text of statute as originally enacted
157:designed to stimulate the declining
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393:An Introduction to Film Studies
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326:Cinematograph Films Act 1938
324:The act was modified by the
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143:Cinematograph Films Act 1927
116:Cinematograph Films Act 1938
36:Cinematograph Films Act 1927
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488:The British Cinema Book
350:Category:Quota quickies
510:In Praise of the Quota
450:British Cinema History
443:Nobody Ordered Wolves
391:Nelmes, Jill (2003).
159:British film industry
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174:companies. As the
147:17 & 18 Geo. 5
76:17 & 18 Geo. 5
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303:Other legislation
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134:Status: Repealed
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294:Commencement
284:Royal assent
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208:Consequences
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163:royal assent
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103:1 April 1928
99:Commencement
89:Royal assent
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180:World War I
169:Description
122:Repealed by
519:Categories
425:24 October
367:References
334:music hall
255:Long title
113:Amended by
61:Long title
344:See also
332:such as
266:Citation
71:Citation
380:Hansard
361:B movie
273:. c. 17
153:of the
78:. c. 29
308:Amends
203:film.)
278:Dates
83:Dates
427:2023
336:and
141:The
151:act
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499:]
145:(
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