Part 3

INTRODUCTION

I am, in the first place, one of the few journalists to specialize on Motion Pictures. This enables me to concentrate on one subject instead of running the risk of making a regular hash of everything under the sun. I would not, naturally, have chosen to follow this path were not the theme the very versatile one it is. So you can imagine that I am always on the alert for new-idea germs for articles.

While searching for these I ran up against the advertising field. I was well aware that the motion picture had broken into the publicity game with success, but a good deal of investigating convinced me that the reason this new publicity medium had failed to gain a wide following was because there was so little definite information about it obtainable.

No advertiser, I fully knew, would consider a pig in the poke proposition, so it occurred to me that here was my chance to remedy the defect. What information there was to be had on the subject was scattered between the pages of various business publications in occasional articles, which fact set me to work to write a concise handbook, embodying everything worth knowing about Motion Picture Advertising.

It will probably seem rather strange to you that an invention like the cinematograph, which has achieved widespread fame as a form of entertainment, can perform the functions of advertising, but it is none the less a fact. Wonders have not yet ceased in this every-day world, believe me.

It also is not, I am glad to say, a medium confined to any one business or profession. It is, in fact, equally adaptable to the large manufacturer as it is to the smallest dealer in any trade.

Some advertisers may view a new form of publicity in the light that it necessitates a greater outlay without accomplishing more than the old established ad mediums. This, however, is not true of the motion picture, for it possesses business-pulling properties distinctly its own. The extra expense is more than recovered by the increased trade it develops.

It is, furthermore, an advertising medium no modern business man can afford to gloss over, so this little book is entitled to his most careful consideration.

ERNEST A. DENCH.

TELLING YOUR ADVERTISING STORY BY MOTION PICTURES

In spite of the versatility of the intrepid motion picture as an advertising medium, it has its limitations. This, after all, is but natural, for all forms of publicity are supposed to be links in the chain, and not one is strong enough to take the place of the whole.

It is clearly obvious, of course, that when adopting motion-picture advertising, everything has to be visualized by means of animated photographs, so, therefore, the appeal is presented through the eye. As for the printed work, this takes a back seat.

Since everything is intended to be absorbed by the eye, a whole mass of explanatory matter tagged on to the film would rather hinder the ad. instead of adding further enlightenment as intended. And the short time a sentence remains on the screen does not allow lengthy statements to sink in. Subtitles are weak devices to help a photoplay story over stumbling-blocks, and the less and shorter they are, the better the picture will be. There are plenty of other mediums in which to display how well you can weave words, so why drag them into a place where they do not fit?

Besides, it is what the spectator sees, not reads, that leaves the lasting impression, which is the paramount point to be reached in advertising by motion pictures.

And there is another important matter to be weighed and considered. If you overload your film with titles, you will befog a good number of foreigners who have not been long enough in our country to master the English language, so that their probable patronage is lost just because the international language of the film has been abused.

There has already arisen a select few writers who have made a specialty of combining advertising with motion pictures and laying out campaigns for their clients to the best possible advantage.

Motion-picture advertising, as a direct-appeal proposition, is ineffective. You may, for instance, have to get out a catalogue in order to list the goods you make, and you may also plan to get this over on the screen by filming each article as you would if you had a still photograph taken and precede each with an insert, giving prices and other particulars of same. Apart from the fact that the film would be voted deadly dull by audiences, it would also fall flat as a business bringer. You simply can’t do without advertising literature, for the motion picture ends at getting interested, and the old stand-bys must clinch the deal at the right time.

Where the film excels is that your ad. comes on the screen without competing with any others for attention, and although the spectator may not respond easily to press advertising, he feels he has to view the picture because he can not “turn over a page,” or, in other words, there is nothing else interesting for him to turn his attention to. He will, if approached, admit that the motion picture is the most entertaining publicity channel yet. You also reach him at his leisure, and, therefore, approach him in the right mood.

Get it out of your head right now that anything in the nature of an ad. film will produce the results you strive for; believe me, the movie fan (there are twenty million of them in this country) is a most fastidious individual, for which the improvements reached in photoplays may be held responsible. You would not expect a formal business notice to do any good nowadays, would you? Then, the same holds good of film advertising.

You can’t merely state on a film that Bondin, the famous actor, derives great enjoyment out of your preparation--it’s too crude. But you can film an interview with your worthy customer and introduce some home-life scenes, not to forget his testimonial of your goods visualized. This would produce an exquisite blend of entertainment and advertising.

All in all, it is action by which you have to tell your story. You have, as a matter of fact, to regard your proposition from the angle of the man from Missouri. You can take the public behind the scenes of your works and convince them that the goods are produced under the best of conditions. The picture is likewise given an educational touch because an industry is being unfolded at the same time. Then, if you want to bring out the important selling points, you engage a writer to incorporate them into a comedy or dramatic photoplay. And so I could go on giving examples of introducing life into the ad. story. Action is the life and soul of the film industry.

Bear in mind, too, that it is the quality that tells, not quantity. I have seen efforts along these lines that contained material for a half-reel subject, yet they were unduly extended to two reels, boring an audience for forty minutes instead of entertaining them for ten minutes. Picture-goers are quick to resent padding, and your film may defeat its purpose. A good way to detect this beforehand is to arrange for its projection and try to place yourself in the position of the average movie fan.

This padding is often done by the smaller fry so as to make as much as possible over the deal. But if the advertiser places himself in the hands of a reliable industrial film concern, he may rest assured of them not taking undue advantage by charging for a lot of superfluous footage.

II.

MOVIE ADVERTISING FROM THE VIEWPOINT OF A FAN

You may hardly credit it when I assert that motion-picture audiences are the most critical in the world. They do not outwardly show their disapproval of things, but after they resolved that the photoplay was here to stay, anything as a motion picture would no longer satisfy them. So the film producers had to humor the folks who had made their wealth, and to-day the fans have been educated up to such a pitch that nothing but the best will satisfy them. Here, then, is the class of readers represented by moving-picture publicity.

The obvious conclusion is that advertisers will have to follow in the path of the ordinary producer in order to obtain the greatest value out of this new advertising medium.

A talk with an intelligent motion-picture fan, as I found, is very interesting. “I would like your views on ad. films,” I asked.