Cinematographic annual : 1930 (1930)

450 CINEMATOGRAPHIC ANNUAL reel and single reel subjects cleverly, though not neatly, used advertising inserts to help pay for the film. You don't have to be an old timer to remember when, as a form of advertising, the older companies used a panel, or sign, in every set with the name of the company in heavy letters. That was advertising that seemed to be effective, because later when the first purely advertising films were made, the boss or advertising man, or sales manager were sold much quicker on having a film made, when a close-up of them was inserted. Even though their pictures didn't help the film a bit. Gradually, when Movie audiences grew larger and re-converted stores were torn down to make room for specially built "Movie Parlors," business men started to take these films seriously. They saw crowds of people eagerly spending nickels to sit in stuffy rooms and listen to bad music and watch poor pictures. The business man with foresight pictured this enormous group of people looking at a screen, and wondered why they couldn't be looking at his product, or his services. No sooner said than done, and within a few years, every program had its advertising film as a filler. One of the very first organizations to cash in on this was the Ford Motor Company. They had their own Cameramen and made their own films. These films were exceptionally well done and pictured interestingly, all types of business such as a Modern Bakery — a Typical Furniture Factory — a Model Dairy — a Steel Mill — the story of rope, etc. The idea was so novel when they first appeared that most of the theatre managers ran them on their regular programs, not realizing that they were giving the automobile man invaluable advertising. Incidentally, even today, if you'll look— and listen — you'll see and hear advertising inserts paid for by national advertisers. As Motion Pictures progressed, the advertising film developed. Organizations were established throughout the country that specialized in Industrial films. And before long the market was glutted with advertising films of one type or another. Some were good — but most were bad. In the meantime, film companies started making "Civic" films in small towns. These films were built on a "Civic Pride" scale and incorporated "shots" of the representative businesses and business men in the town at so much per "shot." They were made in novel forms such as taking the back of the heads of the leading babbitts and showing their faces the next week. All right for their purpose but eventually the well known unreliable and crooked type of promoter entered into the business and the whole idea was gradually discontinued after several of these "fly-by-nights" were handled by John Law. This type of producer is fortunately gone — but not forgotten. Only the other week one of our men approached a rather well known firm for a film, and was curtly refused an interview because, as we found out later, he had been swindled years ago by a man of the above type. It will be quite a while before this man can be sold, and I'm only citing this to point out what the average honest industrial producer has to contend with. The Industrial Motion Picture man of today, of necessity, has to be a reputable member of the city in which he resides. Business ethics demand it. At present there are between 50 and 75 recognized organizations