Chapter 326: Chapter 285: Royal Film Production Studio

In any country, there is a phenomenon referred to as “one word from above, and legs running below.”

What does it mean? A thought from the upper echelons of a country can lead to a large number of people in the middle and lower levels scrambling to carry it out.

Especially for a monarch like Arthur who has great power, a single word from Arthur can set the entire Australasia in motion.

This is actually a double-edged sword. If this power is used properly, it can push the country in a more robust direction.

However, if those using this power only pursue their own selfish desires, they may likely push the country into the abyss, a place of no return.

The good news is that Arthur carefully considers most of the orders he issues, and consults with the Cabinet Government or other officials when uncertainties arise.

Although Arthur has various experiences from later generations, after all, he is just an ordinary person and may make mistakes.

However, as the ruler of a nation, Arthur has a large number of subordinates and government officials to discuss with. These officials are meant for this purpose, and Arthur finds it quite handy to use them.

Under Arthur’s decision to vigorously develop sound films, Australasia’s three major film studios and related researchers quickly got to work. Hundreds of literary workers, including various writers, novelists, men of letters, historians, and even artists, were all gathered together.

Their only mission is to compile stories about the Australasian nation to promote national unity and cultural identity.

The stories can be based on relevant historical facts or entirely made up, as long as they appear reasonably authentic.

As long as they follow the overarching theme of national unity and cohesion, Arthur allows them to build an alternative framework for national stories, even outright fabrications.

After all, Australasia has the final say in Australia, and no country will compete with Australasia for the right to interpret this region’s history.

The experts assembled take this task very seriously, because they have received news that the stories they compile will not only be adapted into sound films and aired nationally and even worldwide but also potentially be selected and included in Australasian textbooks.

These experts may also have their stories remembered in Australasia for thousands of years.

After all, they have chosen to adopt Australasian nationality, and who wouldn’t want to have a good reputation in this country?

Sydney, Royal Film Production Studio.

The Royal Film Production Studio is the film studio with the most shares held by the royal financial group, accounting for 100%.

Of course, the other two major film studios, the Victoria Film Studio and the Australasia National Film Studio, are also backed by the royal financial group. It can be said that in the film studio field, the royal financial group is the big boss behind the scenes, and the three major film studios are actually fighting within the royal financial group.

However, this competition is allowed, and some commercial competition can also make the industry’s development smoother.

It’s better than a single dominant player, letting market monopoly lead to a decline in film quality and various services!

Karen is a professional film projectionist at the Royal Film Production Studio. The so-called film projectionist is actually a person who takes movie screening equipment to small towns or rural villages without cinemas to show movies to people there.

At first, it was because the film companies wanted to promote movies and expand their channels, so they went to rural villages and small towns for promotion.

Over time, some people have become accustomed to this form of entertainment. People in some villages often pool money when they have extra funds to invite a film projectionist to show a movie.

In Australasia, there aren’t many people who can watch movies. If they can afford to invite a projectionist to their village to show a movie, the villagers won’t mind bragging about it for a whole year.

But for those film projectionists, while small towns are fine, remote villages are particularly troublesome because the process is time-consuming and burdensome. After all, at this time, film projectionists’ belongings could not even fit in one horse carriage. Going to a small village is entirely a punishment.

But there’s no choice, as this is the strategy of film studios to expand their markets and the livelihood of these film projectionists.

The good news is that the price of screening a movie is not cheap. If you include the travel expenses and costs to remote areas, the expense of screening a movie is equal to half a year’s income for an ordinary Australasian worker.

This is why most villages and small towns choose crowdfunding when showing movies, as the cost of a single movie screening requires more than thirty Australian dollars, which is close to the average annual income in Australasia.

Because of this reason, the business of film projectionists like Karen is not very good.

Although a single movie screening can earn them at least two to three months of income for an ordinary Australasian, the problem is that for those small towns and villages, the number of movie screenings per year may only be one or two times, or even once in several years.

This has led to Karen’s business operating once every two or three months, and his income is only around the average income level in Australasia.

If it weren’t for Karen occasionally finding opportunities to screen a movie in a city square, attracting hundreds of viewers and earning some extra income, his annual income might be the same as that of an ordinary person.