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Ten AMERICAN CINEMATOGRAPHER November, 1924
The Editors' Lens focused by foster goss
Hi g gin Is Right/
<| Speaking at a meeting arranged by George Landy recently for the Western Motion Picture Advertisers (the "Wampas"), Howard Higgin, noted scenario writer, expressed, in detail, the view that the time had come for motion picture publicity to be broadened so as to include not only the stars and players themselves but to give attention to the other artists who, though they are never seen, are indispensible factors in the production of every picture.
II Higgin indicated that the general concentration on the players in matters of publicity had made the reading public so familiar with their lives that the slightest adverse happening in their affairs conjured a boomerang that redounded to the detriment of not only the publicized principals, but to that of the industry as a whole.
I]J Higgin gave it as his opinion that the time had come to move away from this extreme in publicity. He believes that by giving the director generally, the scenarist, the art director, the cinematographer and all those whose efforts go to make up a motion picture, the attention that their merits deserve in publicizing — that by so doing, a substantial or business-like, if you please, form of publicity will be created which will not only make good reading and result in bestowing credit where such is due, but which will remove film publicity from the realm of the frivolous and place it on a foundation which, being diversified, is not susceptible to casting out boomerangs.
IJJThat such a program of publicity can be highly beneficial has been proved to those publicity men who have transcended the beaten paths. They can testify that Higgin is right. Leading publicity men realize this, as shown in the article of Harry D. Wilson, president of the "Wampas," in last month's issue of this publication. Incidentally, Wilson's article points out conclusively where the cinematographer fits in under Higgin's plan.