Chapter 325: Chapter 284: Cultural Export Plan_2

Until their upper echelons are willing to undertake comprehsive reforms, these will only amount to surface level changes, futile and incomplete.

Arthur feels there's no need to participate, but of course, if they wish to order battleships, Arthur would certainly welcome it.

About the query for buying grains, Arthur unreservedly agrees. The currt floods in East Asia are severe, reaching to millions of refugees, which also have a significant impact on the price of grain.

Not to mtion, it's only normal to increase the price of grain by about t perct on the original basis, right? Don't underestimate this evt, it could bring no small income to Australasia, and also provide an opportunity to replace the old grains in the strategic grain reserves.

In addition to these developmts, at the d of August came the great news that Edison successfully invted the sound film, dragging movies into a new era.

Of course, the so-called invtion esstially means the developed technology of sound film was now commercially viable.

In fact, as early as 900, the world's first sound film had screed in Paris.

Yet, after all, the technology was not mature at the time, commercially viable sound films were not wholly feasible, and therefore the impact was naturally not great.

Arthur values sound films because since its inception in 9, sound film became a global phomon in just over 0 years, making Hollywood, USA the most influtial cultural and commercial cter in the world.

Of course, what allowed the United States to surpass the European countries in sound film was the skeptical attitude of many European filmmakers and critics towards new technology.

They were worried that too much dialogue would reduce the special aesthetic of silt films, so sound film did not capture as much atttion in Europe as it did in the United States, which allowed Hollywood to successfully become the symbol of world cinema.

The birth of sound film signifies the upcoming era of massive developmt in the film industry.

Arthur naturally understands the importance of movies. They are not only an extremely important means of making money, but also an important tool and method for foreign publicity, transmission of culture, and hancing international influce.

Wh it comes to cultural output, nothing can compare to film. Traditional books, music, and art can only influce a small part of the population, and progress is slow.

But films are differt. In just over one hour, a film can easily radiate its influce across the world.

A few years ago, Australasia had a film factory, and ev broadcasted silt films.

But Arthur was not interested in these silt films, so after watching them once, he no longer cared.

After the birth of sound film, Arthur inquired about the currt developmt of the Australasian film industry from Butler Kt, and overall it was quite good.

The good news is, early sound film technology was quite simple. For Australasia's currt state of technology, developing the sound film technology is not difficult.

Put simply, the most basic sound film involves playing the sound as the film is being projected to achieve synchronised audio and visual effects.

Implemting this technology isn't hard. At its simplest, one can use a phonograph to play the sound, although this requires some coordination betwe the audio and visuals.

A slightly more complicated method would be to use two types of film with differt photossitive properties—one for recording images, the other for sound. Th, through a series of techniques, the sound and images can be combined on a single copy of the film, ready for screing.

During a screing, the projector also has a sound system that can reproduce the sound as the images are projected, creating a sound film effect.

Objectively speaking, neither of these technologies is difficult, and both can be used for commercial sound film technology.

Arthur handed over these two sound film technologies to the three major film studios, each with a budget of 0,000 Australian dollars.

Arthur's only request was that they research sound film technology as soon as possible, write a great number of historical scripts about the Australasian ethnicity, film these into sound films and broadcast them extsively throughout Australasia.

For this, Grant's Propaganda Departmt will coordinate with these three film studios. The Propaganda Departmt is responsible for domestic and overseas publicity, and they control all Australasian newspapers and media.

The Propaganda Departmt, in cooperation with those writers, along with some novelists who are good at making things up, could absolutely rewrite the history of Australasia.

With the three film studios working diligtly on the side, they aim to turn these stories into scripts as soon as possible, th shoot them into films and showcase them on the big scre.

At prest, the main audice is still within Australasia. But some films may also be considered for screing in Europe and the United States.

As for other areas, like Asia and South America, Arthur has temporarily giv up on them.

After all, ev a very rudimtary film requires money to buy a ticket and watch it.

For regions where most people still lack the disposable income to watch films, it's better to leave the opportunity to Europeans and Americans.

The good news is that there ar't struous restrictions on films at prest. As long as they don't blatantly satirise the local governmt or propagate thoughts and conceptions that are not recognized or duly forbidd in those localities, th the films gerally won't be restricted.

Perhaps for some Island Nation directors, this is good news. Since prest-day movies are not strictly classified by age, theoretically, the films they shoot can be screed anywhere.

It's a shame that they couldn't joy such prosperous times; otherwise, the Island Nation's films could have global reach, albeit with a less than ideal reputation.