Meanwhile, the United States Tariff Commission began to study the 8½-cents-a-pound cotton export differential at the direction of President Kennedy. Genuinely alarmed, Hong Kong business groups hired Dean Acheson, lawyer and former American Secretary of State, to represent them before the Commission and help to retain the price differential. The textile volcano erupted again in March, 1962, when the colony government, acting under the one-year agreement that went into effect the previous October, banned eight categories of textile exports to the United States. The Hong Kong _Tiger Standard_, clamorous advocate of the textile interests, excoriated the move as a prelude to economic ruin. Pandemonium ran through the industry. The government ban was lifted almost immediately. Prospects of a peaceful solution seemed as poor as ever. On September 6, 1962, the U.S. Tariff Commission voted to retain the 8½-cent export differential and rejected a proposal to raise the duty on cotton imports. This action coaxed the Hong Kong manufacturers out of their sulks, but it sent the American textile-makers into a fresh tantrum. Hong Kong’s motion picture industry is one of the world’s most prolific, and least-known, producers of feature films. More than 300 feature-length pictures were made in 1961 by its six major studios and scores of independent producers who rented working space from the big studios. All were in Cantonese or Mandarin, aimed at the Overseas Chinese market in Taiwan, the Philippines, Southeast Asia and elsewhere. Mandarin features are generally based on heroic or historical themes, with rich costuming and elaborate sets; each one takes 35 to 40 days of shooting and costs around $40,000. A few Mandarin films have contemporary stories. Cantonese films, usually drawing on time-tested plots from Cantonese opera, can be run off in 10 or 15 days for less than $20,000 and are more popular than Mandarin with the Hong Kong fans. As might be guessed from their shooting schedule, many of these quickies are rubbish. But the quality of the Mandarin films has improved, and a few super-productions costing as much as $175,000 are made every year. Hong Kong films have won top honors at the East Asian Film Festival for the last four years. The Shaw Brothers, Run Run Shaw and Run Me Shaw, bill themselves with typical cinematic restraint as The Greatest Purveyors of Entertainment in the Far East, and are the kings of the local industry. Late in 1961 they moved their Hong Kong organization into a modern and elaborate studio at Clearwater Bay in the New Territories. Its four sound stages were to be increased to six within a few months, and its employed force numbered several hundred, plus an equal number of low-paid extras.