Nevertheless, for at least the first two years of war, production flourished. It was realized that far from emptying the cinemas the war would fill them to capacity:

facture"1 for patriotic reasons, and moreover that by cutting off Continental film imports the war would force the market into the hands of British and American producers. In these discussions the interests of American and British producers were at first treated as identical. It was subsequently proved, of course, that although the French and small German output were cut off, Italian and Scandinavian films continued to pour into the country: and that a strengthening of the American position was the worst thing that could have happened to the British producer.