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When the legislation was introduced, production companies sprang up in Calgary, Montréal and Toronto, but the most active producer of quota quickies was Kenneth Bishop of Victoria, BC.He produced two films (1932–34) through his Commonwealth Productions and another 12 films in three years (1935–37) through his second company, Central Films.
More than 500 films had been released — including the propaganda series (1942–45), which were shown monthly in Canadian and foreign theatres — an animation unit had been set up under the supervision of Scottish-born animator Norman Mc Laren, non-theatrical distribution circuits were established and many young Canadian filmmakers were being trained.
These promotional films were characteristic of most Canadian production through 1912 — financed by Canadians but made by non-Canadians to sell Canada or Canadian products abroad.
The few Canadians (such as Ouimet in Montréal, Henry Winter in Newfoundland and James Scott in Toronto) who initiated their own productions made only newsreels or travelogues.
European film industries also faced the threat of Hollywood domination in the 1920s, but most governments moved quickly to protect their domestic industries by controlling ownership of exhibition and distribution companies, or by stimulating national production. The law stipulated that 15 per cent of films shown in Britain had to be of British or Commonwealth origin.
From 1928 to 1937, a total of 22 low-budget feature films — commonly referred to as “quota quickies” — were produced in Canada by Canadian-based, American-financed companies in order to take advantage of the quota.