Abstract
This chapter analyses the effects of the policies of the Nazi regime on film supply and demand in four cities in four countries during the Second World War: Brussels (Belgium), The Hague (the Netherlands), Krakow (Poland) and Brno (Czechoslovakia, Protectorate of Bohemia and Moravia). We show that even though the German occupiers completely controlled film exhibition, distribution and production, still regulations and practices were somewhat geared to national and local cultures and film preferences. In Brussels, this meant that a large portion of French films could still be shown, and in Brno it meant that domestic production could maintain a relatively high output. In the Netherlands, German films obtained a virtual monopoly position. They had been popular from before the war, and this trend continued during the occupation. In Poland German films dominated as well, but the Krakow audiences stayed away when only German films were offered in the cinemas.
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Notes
- 1.
The Krakow project was carried out in the frame of the project funded by the National Science Centre, Poland (Grant Number 2021/43/B/HS2/02453). Krakow had separate cinemas for Poles and Germans, and since our project is concerned with Nazi film policy towards occupied countries and the reactions of the audiences of these countries to this policy, the database in the case of Krakow includes only cinemas for Poles.
- 2.
We kept record of our decisions as precisely as possible and are preparing the publication of the data in a repository together with a data paper.
- 3.
In case of more than one country of production, they were mentioned in the same order as listed by IMDB.
- 4.
The programming information of Brno, Krakow and The Hague starts shortly before the occupation, Brussels starts one month after the occupation because cinemas were closed then. Initially we intended to compare the period from before the war with the period after the war, but during the process we found that it would make more sense to focus on the impact of the regulations.
The dataset will be deposited in a permanent location, but the location is not known yet.
- 5.
The International Film Chamber, founded in Paris in 1935, was revived by the German Propaganda Ministry in July 1941 and deployed to align the European film market to the wishes of Germany and Italy. Apart from these two countries, the occupied countries as well as the satellite states of the two Axis powers now belonged to it: Bohemia and Moravia, Belgium, Bulgaria, Croatia, Denmark, Finland, Hungary, Norway, Holland, Romania and Slovakia. Spain and Sweden were associated as “neutral members”. See Martin (2011).
- 6.
Trinks’ name as trustee appears in the following files: Bundesarchiv Berlin, R 109-I/1613.
- 7.
Niederschrift, the agreements of a meeting on the distribution of films in the General Government of 9 May 1940, copy from 22.05.1940. Bundesarchiv Berlin, R 109-I/1613, pp. 1–2.
- 8.
Bericht über die Revision bei der Film- und Propagandamittel-Vertriebs-GmbH in Krakau, vorgenommen in der Zeit vom 1. bis 21. November 1940, the audit report on FIP, 21.11.1941. Bundesarchiv Berlin, R 109-I/1613, pp. 3–4; Abschrift, the letter from Walter Müller-Goerne to the Governor-General, 9.05.1941, Bundesarchiv Berlin, R 109-I/1613, p. 2.
- 9.
Abschrift, the letter from Willi Peter Busch to Günter Schwarz (the foreign department of the Reich Film Chamber), 6.08.1941, Bundesarchiv Berlin, R 109-I/1613, s. 1.
- 10.
Of the unreleased Dutch films, one was a 16 mm film already shot in 1938; the other one was Ten Hoogste Negen Jaren (Nine Years at Most, Alfred Mazure & Piet van der Ham, 1945).
- 11.
This is apparent from almost all contributions (case studies) published in Vande Winkel and Welch (2011).
- 12.
The order also divided the cinemas in Brno into seven categories: five premiere cinemas, five cinemas of so-called first re-run, four cinemas of the “second re-run”, and another nine cinemas divided into four “districts” (Hrací řády pro český film v Čechách a na Moravě, p. 1).
- 13.
These regulations are interesting in the context of the regulations in force in the Third Reich. For example, in 1940, a film had to be prolonged if on two days, with two screenings a day, twice as many tickets were sold as the number of seats—the obligation arose with the average filling of the cinema in half (if the film was released on Friday, then, with a one-week contract, the valid days were Monday and Tuesday; if it started on Tuesday, they were Thursday and Friday). See also Garncarz (2021). Thus, in the Third Reich, there was an obligation to prolong the film (if there were viewers), while in the Protectorate there was only this possibility, besides which it was limited to a certain number of weeks.
- 14.
Until the German invasion of the USSR in June 1941, Ukrainians also had their own small district in Krakow. See Chwalba A (2002, pp. 86–94).
- 15.
Rotterdam, the country’s second city, had lost a majority of its cinemas in the devastating bombardment and ensuing fire of May 1940.
- 16.
Information about the evolving number of cinemas is based on www.cinema-in-occupied-belgium.be (Vande Winkel, 2020).
- 17.
- 18.
Calculations, based on the statistics mentioned in the previous note, indicate that the cinemas in Brussels generated a total revenue (in the six months that were mentioned) of 54223204 Belgian francs. The 155 cinemas in Antwerp (63), Charleroi (48), Ghent (28) and Liège (16) generated a total combined revenue of 55228586 Belgian francs.
- 19.
Attendance in the Czech part of Czechoslovakia (without the annexed Sudetenland) and, since 1939, in the Protectorate of Bohemia and Moravia: 1940: 62.93 million cinema-goers, 1941: 65.61 million, 1942: 75.79 million, 1943: 93.54 million and in 1944: 127.5 million. See Pištora (1996, pp. 53–54), Havelka (1940, p. 37), Průcha et al. (2004, p. 549).
- 20.
- 21.
- 22.
The population of Poland in 1939 was 35.1 million, and the number of tickets sold in cities with more than 20,000 inhabitants was 57.2 million. See Szturm de Sztrem (1939, pp. 10, 348). If we assume that no tickets were sold in cities with less than 20,000 inhabitants (which had 428 cinemas), the average annual attendance would be 1.6 per person (since some tickets were sold in cities with less than 20,000 inhabitants, it is clear that 1.6 is the lowest possible attendance). The population of Poles in the General Government was about 10 million (see Madajczyk, 1970, vol. I, pp. 235–236). If 9 million tickets were sold in cinemas by Poles in 1941 (Madajczyk, 1970, vol. II, p. 140, note 48), or 13 million tickets (two-thirds of 20 million, see Jaenicke, 1941, p. 8), the average annual attendance would be 0.9 or 1.3 per person. With a probability close to 100%, it can be said that the attendance of the Polish population was lower in 1941 than in 1938.
- 23.
As evidenced by a press report from December 1944: “Unfortunately, not everyone is lucky enough to get into a cinema by paying the normal price for an entrance ticket, because almost always a bunch of speculators buy them up in bulk in advance, to then sell them before the entrance at inflated prices. However, not everyone can afford to pay 20 or 25 zlotys for an entrance ticket. And that is why they have to give up in advance two carefree hours which tear people away from the grey reality of everyday life” (Haracz kinowy, 1944, p. 3).
- 24.
See the advertisement Wanda in Goniec Krakowski, p. 7 (Wanda, 1940).
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Appendix
Appendix
Supply and demand all cities
City | Country | Period 1 | Period 2 | Period 3 | Period 4 | ||||
|---|---|---|---|---|---|---|---|---|---|
Supply | Demand | Supply | Demand | Supply | Demand | Supply | Demand | ||
Brno | Austria | 4% | 1% | 2% | 1% | 5% | 4% | 4% | 3% |
Brussels | Austria | 5% | 3% | 3% | 1% | ||||
Krakow | Austria | 11% | 12% | 4% | 1% | 0% | 0% | ||
The Hague | Austria | 5% | 6% | 4% | 2% | ||||
Brno | Austria (nach Anschluss) | 1% | 1% | 1% | 3% | 2% | 2% | 2% | 3% |
Brussels | Austria (nach Anschluss) | 0% | 0% | 1% | 2% | ||||
Krakow | Austria (nach Anschluss) | 2% | 5% | 3% | 4% | 5% | 6% | ||
The Hague | Austria (nach Anschluss) | 1% | 3% | 3% | 5% | ||||
Brno | Belgium | 0% | 0% | 0% | 0% | 0% | 0% | 0% | 0% |
Brussels | Belgium | 1% | 0.6% | 2% | 1% | ||||
Krakow | Belgium | 0% | 0.0% | 0% | 0% | 0% | 0% | ||
The Hague | Belgium | 0.2% | 0.2% | 2% | 1% | ||||
Brno | Czechoslovakia | 16% | 22% | 8% | 4% | 11% | 9% | 10% | 7% |
Brussels | Czechoslovakia | 0% | 0% | 0.1% | 0.0% | ||||
Krakow | Czechoslovakia | 0% | 0% | 0% | 0% | 0% | 0% | ||
The Hague | Czechoslovakia | 0.4% | 0.3% | 0.7% | 0.3% | ||||
Brno | France | 3% | 3% | 0% | 0% | 0% | 0% | 1% | 2% |
Brussels | France | 35% | 34% | 49% | 51% | ||||
Krakow | France | 0% | 0% | 0% | 0% | 0% | 0% | ||
The Hague | France | 6% | 5% | 2% | 1% | ||||
Brno | Germany | 33% | 31% | 44% | 41% | 59% | 49% | 57% | 54% |
Brussels | Germany | 17% | 23% | 38% | 38% | ||||
Krakow | Germany | 58% | 59% | 73% | 72% | 92% | 90% | ||
The Hague | Germany | 39% | 41% | 74% | 77% | ||||
Brno | Great Britain | 4% | 4% | 0.3% | 0% | 0.4% | 0.2% | 0.1% | 0% |
Brussels | Great Britain | 1% | 0.7% | 0% | 0% | ||||
Krakow | Great Britain | 0% | 0% | 0% | 0% | 0% | 0% | ||
The Hague | Great Britain | 2.5% | 3.0% | 0% | 0% | ||||
Brno | Hungary | 0% | 0% | 0% | 0% | 0% | 0% | 1% | 1% |
Brussels | Hungary | 1% | 0.5% | 0.5% | 0.1% | ||||
Krakow | Hungary | 0% | 0% | 0% | 0% | 0.4% | 1% | ||
The Hague | Hungary | 0.2% | 0.1% | 0.6% | 0.4% | ||||
Brno | Italy | 1% | 0.3% | 3% | 2% | 6% | 6% | 8% | 6% |
Brussels | Italy | 1% | 0.7% | 4% | 7% | ||||
Krakow | Italy | 1% | 0% | 1% | 0% | 2% | 3% | ||
The Hague | Italy | 2% | 3% | 6% | 8% | ||||
Brno | Netherlands | 0% | 0% | 0.2% | 0.1% | 0.3% | 0.3% | 0.3% | 0.0% |
Brussels | Netherlands | 0% | 0.0% | 0% | 0% | ||||
Krakow | Netherlands | 0% | 0% | 0% | 0% | 0% | 0% | ||
The Hague | Netherlands | 6% | 9% | 5% | 3% | ||||
Brno | Poland | 0.3% | 0.1% | 0.2% | 0.2% | 0% | 0% | 0% | 0% |
Brussels | Poland | 0% | 0.0% | 0% | 0% | ||||
Krakow | Poland | 15% | 15% | 18% | 21% | 0% | 0% | ||
The Hague | Poland | 0% | 0% | 0% | 0% | ||||
Brno | Protectorate of Bohemia and Moravia | 3% | 7% | 10% | 29% | 13% | 27% | 14% | 22% |
Brussels | Protectorate of Bohemia and Moravia | 0% | 0% | 0.4% | 0.2% | ||||
Krakow | Protectorate of Bohemia and Moravia | 0% | 0% | 0% | 0% | 0% | 0% | ||
The Hague | Protectorate of Bohemia and Moravia | 0% | 0% | 1% | 1% | ||||
Brno | Scandinavia | 0% | 0% | 0.3% | 0.4% | 2% | 2% | 2% | 1.2% |
Brussels | Scandinavia | 0% | 0% | 0.3% | 0.0% | ||||
Krakow | Scandinavia | 0% | 0% | 0% | 0% | 0% | 0% | ||
The Hague | Scandinavia | 1% | 2% | 1% | 1% | ||||
Brno | USA | 34% | 31% | 31% | 19% | 0.4% | 0.1% | 1% | 0% |
Brussels | USA | 41% | 38% | 2% | 0.2% | ||||
Krakow | USA | 13% | 9% | 0% | 0% | 0% | 0% | ||
The Hague | USA | 37% | 29% | 0.6% | 0.3% | ||||
Brno | Other | 0.3% | 0.1% | 0.2% | 0.3% | 1% | 0.3% | 1% | 0.4% |
Brussels | Other | 0% | 0% | 0.3% | 0.2% | ||||
Krakow | Other | 0% | 0% | 1% | 1% | 0.4% | 1% | ||
The Hague | Other | 0.4% | 0% | 0.1% | 0.2% | ||||
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Pafort-Overduin, C. et al. (2024). Cinema-going in German-occupied Territory in the Second World War. The Impact of Film Market Regulations on Supply and Demand in Brno, Brussels, Krakow and The Hague. In: Treveri Gennari, D., Van de Vijver, L., Ercole, P. (eds) The Palgrave Handbook of Comparative New Cinema Histories. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-38789-0_15
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