By David Welch
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Additional info for Propaganda and the German Cinema 1933-1945 (Cinema and Society)
Each office had two chairmen who examined films with the aid of four assessors drawn from the teaching and legal professions and the film industry itself. However, the 1934 Law joined the two Prüfstellen together and incorporated them as a subsidiary office of the RMVP. The procedure by which the Censorship Office reached its decisions was also revised. Under the 1920 Law, decisions were arrived at by means of a majority vote, and if a film was banned its producer could appeal to the Supreme Censorship Office (Oberprüfstelle).
33 The first Reichsfilmdramaturg was a critic, Willi Krause, a former journalist for Goebbels’s newspaper Der Angriff and a reliable member of the NSDAP. If a producer wished to make a film, he had first to submit a ‘treatment’ (synopsis) to the Dramaturg. If this was passed, the full scenario could be written, and this would have to be approved before shooting could begin. In most cases the Dramaturg could supervise every stage of production. The orders issued and the changes suggested by him were binding.
66 The report complained that films were taking too long to make. This was partly due to shortages of workers and raw materials caused by the war, but the report also attached considerable blame to the RMVP. They were commissioning too many expensive large-scale film projects and, more importantly, there was far too much intervention at every stage of filmmaking, resulting in a failure to keep up with demand for new films. The report concluded by warning that the number of films produced were likely to fall even further and that unless companies became more profitable they would have to be supported by government subsidies.
Propaganda and the German Cinema 1933-1945 (Cinema and Society) by David Welch