The correspondence related to the administration of the cinema shows the way in which the small joint-stock company had to adapt to the laws also had to be employed persons of nationality, then to the laws regarding the Jews, the Jews could not hold functions driving. From the point of view of the cinema attendance and the film culture in Cluj, we should also analyze the factors that have influenced the programs of the cinemas. Make a visit to https://real-couchtuner.com/all-movies for the perfect results.
A research on the cinematographic distribution would be relevant by comparing the correspondence of the cinema owner with the cinema program, constantly published in newspapers: how did the local owners connect with the international film distribution network? What kind of professional relationships, what kind of rules and censorship established the films that were to be screened in the Transylvanian cinemas?
Copyright and screenplay
Several letters from Jenő Janovics are concerned with the latest rumors in the life of the silent film, including examples of renting silent films during the soundtrack. Specifically, in 1932, the Urania cinema in Dej acquires the right to play the film The Old Infantryman and his son, the Hussar, made in 1917, and moreover, reports that he gave a speech at the meeting with the audience after the film’s design.
He tried to track down the negatives and positive copies of his silent films: thus we find that several copies of his film The Old Infantryman were kept by Magyar Filmiroda RT and by the Hungarian Ministry of Education and Cults’ directorate for educational films, with Janovics demanding the return of them in 1943. From the correspondence with Magyar Filmiroda, we find out that he proposed the making of a series of educational films about the history of cinema, with the title
Hungarian film born in Transilvania (Erdélyben született a Magyar film), which would have presented scenes from the silent films made in Cluj, with soundtrack and commentary: it would be interesting for the public and because it is about Transylvania, to see where the film originates today and it would be interesting for the songs and actors. It would be good advertising material for cinemas. The public would be amused and would see a piece of Transylvania of old “(January 9, 1939).
Janovich had previously written a summary of the same title for the journal Pásztortűz (1935. 146–147), and later published an article entitled Childhood of the Hungarian film in Transylvania (A Magyar film gyermekévei Erdélyben) in Filmkultúra (1936. 10–13). Why did he so much like the syntheses about the history of the film and the quantification of its results? It can be considered both as an awareness of the history of cinema, but also as a self-documentary, which was probably important to him, as an instrument of his own credibility: these writings appeared in the years when Janovics could no longer hold the position of theater director and he is fighting for the sustainability of his film society.
Advertising in Keleti Újság, 1939
The series on the history of the Hungarian film was not made, but from the films kept in the Fotofilm warehouse in Cluj, however, it organized a projection in a small circle about the “history of the film”, as reported in its memoirs by the former actress Hegyi Lili: “In 1942, when the director became the director, he made a pleasant surprise to the former actors in the films and the closed circle of guests who were present at the Select cinema.