Screenland (Nov 1929-Apr 1930)

6 SCREENLAND MOVIES in the c^IR Screenland is first in line to encourage a closer alliance between two great industries — motion pictures and radio By Julia Shawell M' [OTION PICTURES and radio are two great industries whose futures are so closely allied that within the next ten years one will be dependent upon the other. Development in each field invades the other's fundamental province, and Screenland, acknowledging the present trend and anticipating the future closer alliance, is establishing this department to cover news and information concerning radio as it affects the films. TEN years ago, radio was looked upon as an intruder which would seriously interfere with the theater, and particularly the movie business. That this supposition was an error has already been proven. With nearly twelve million radio receivers now in use throughout the United States, the picture public has consistently increased, production has expanded, film sales have grown and profits have been comparatively larger. The recent A I Jolsoti, talkie trouper who wise cracks, sings, laughs and cries all in one breath and his wife, Ruby Keeler, musical comedy star formerly in Ziegfeld's "Show Girl." advent of the talkies on the screen was made possible only through knowledge gleaned in radio. TELEVISION, though still in an experimental stage, is assured. W hether, as the present situation indicates, it will be feasibly marketable in about ten years, or whether unexpected improvements and developments hasten the commercial possibilities, television is a certainty. Already, amateurs throughout the United States are receiving wireless pictures and the broadcasts from Schenectady have been picked up as far west as San Diego. Several large intervening areas have been proven dead spots, however. Television which is a development in the radio field is not to be confused with the wired transmission of pictures which the telegraph companies have already established as part of their regular service. It remains to be seen if television will be used exclusively on radio receivers, or whether it will be part of the motion picture theater equipment. SEVERAL of the large film companies have already direct tie-ups with stations and chains. Paramount's assumption of control in the Columbia Broadcasting Company, representing one of the three largest radio chains in the world, emphasizes the importance of this tie-up. On the Paramount-Publix hour, for example, all the varied resources of this great organization are utilized for fashioning radio entertainment. With WABC in New York as the key station and with broadcasting wave lengths covering the entire United States, Paramount can reach every hamlet, city and town where Paramount theaters and exhibitors are located. RADIO KEITH ORPHEUM which owns Radio Pictures with its Radio Corporation of America association, has its representation with the National Broadcasting Company and uses a coastto-coast tie-up twice a week. Metro-Goldwyn-Mayer is directly identified with WHN and WPAP in New York which has as yet only a local coverage. Warner Brothers have their own station in California, and First National has been using WGBS in New York to broadcast special premieres. BEFORE the talkies, radio used movie celebrities as name bait on its programs. Prominent players, directors and executives were interviewed. The first imposing entertainment program was the national broadcast from the United Artists