Film and Radio Guide (Oct 1945-Jun 1946)

January, 1946 FILM AND RADIO GUIDE 49 tion is subject to technical difficulties (distance, manpower, expense, hard-to-handle camera and sound equipment) and is also handicapped by the terrific group pressures which represent a daily reality. The theatrical newspaper Variety reported during 1944 that film theatres in the South were cutting out newsreel footage dealing with Negroes. Such practices may shock the liberal who hears about them for the first time. They represent an all-too-tangible fact of newsreel editing. The Bureau of Applied Social Research discovered through an analysis of 600 “clips” in 1944 newsreel editions that minorities were treated in only 18 instances. Half of these were related to war activities, to wit : Five Sullivans’ parents Creek Indian decorated Air Ace Gabieski in action Sgt. Bejenski saved from death Sgt. Beranek’s athletic prowess Negro Paratroopers 99th Pursuit Squadron The Fighting 92nd Negro Red Cross Club in Cherbourg Advertising Copy Interviews with copywriters, art directors, and others established the general acceptance of the whole white, Protestant Anglo-Saxon myth and a disposition to defend current practices. Only when time and budget permit, do some firms revise their advertisements for the foreign language and Negro press by substituting pictures and text appropriate to these special audiences. The refrain goes like this : “We naturally draw on typical Americans because the greatest bulk of our ads are directed at typical Americans.” Another advertising man explained his views in these words ; “Basically, it is commercial. You want to sell to the greatest n u m b e r of people. Therefore in your advertisement you present someone whom they will want to emulate.” This man had actually conducted research of his own to determine what particular Anglo-Saxon names possessed the greatest power to suggest high social and economic status — in other words, maximum snob appeal. Still another advertising man said : “You’d lose your audience if a colored man appeared in the ad. However, in a i)icture of the Old South, whiskey ads and so forth, one puts in an Uncle Tom for atmosphere.” Colored servants are almost invariably found in whiskey or mint julep copy “to suggest the Old South, Kentucky, gracious living, and all that.” The full text of the Bureau’s study on racial stereotypes will probably be published in full scientific trappings, with charts, footnotes, bibliography and extended comment. Meanwhile this digest is primarily a summary of the key facts and the chief conclusions. The impressions of the Writers’ War Board may be summed up as follows: THE STAGE — is the most liberal of all the media in presenting minority characters sympathetically and honestly. 'I’HE NOVEL — is, like the theatre, in the forefront of liberalism; witness Lillian Smith’s “Strange Fruit,” Hodding Carter’s “The Wings of Fear,” and Gwethalyn Graham’s “Earth and High Heaven.” THE MOTION PICTURE— has continued to make disparaging presentations of minorities, but there has been some improvement. THE RADIO — ranges from innocuous to sympathetic, despite some invidious stereotjqjes. THE COMIC CARTOON— has accorded the greatest recognition and credit to the Negro fighter. THE PRESS — in the North is, with some notorious exceptions, generally fair, although not zealous where minorities are concerned. About 60 loercent of the Southern press is considered anti-Negro despite all disclaimers. ADVERTISING COPY— is openly and self-admittedly addicted to the Anglo-Saxon myth because of reliance on “snob appeal.” THE SHOR’P STORY — uses the most stereotypes, is the worst offender. Three New Swimming and Diving Shorf Subjects George A. Hirliman, President of International Theatrical and Television Corp., announced recently the purchase of three one-reel short subjects entitled. Swimming for Beghmers, Advanced Swimming and Stvimming and Diving. These films were produced by Norman Sper, are made in kodachrome, and run for approximately eight minutes each. With commentaries by the radio announcer, Ken Carpenter, the production of these films was supervised by Fred Cady, coach of the United States Olympic Team and swimming and diving instructor at the University of Southern California. The first of the three films shows Cady instructing a youngster. The child is taught the fundamentals of swimming from Boating and kicking to proper breathing and the finished armstroke of the American Crawl. The second in the series pictures accomplished swimmers perfecting their strokes and gaining speed through correct kicking and swift down pulls with the arm. The third film deals with the fundamentals of diving and shows how the average swimmer may become proficient in this sport. This film also illustrates how some of the more difficult trick dives are performed and perfected. ITTCO has world rights for the distribution of these film in both 16mm and 35mm. They sell, in 16mm, for ,$75.00 and rent for $3.50 a reel.