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screening-time, it is worth noting that in a 1500-booking campaign 60 million minutes of attention are given to the product featured in the film. Speaking for the firm that I represent, there is one important point in our service which cannot be stressed too much — every publicity Film we distribute is a solus advertisement, that is, it is the only publicity film included in the kinema programme during the period of exhibition. The cost of Film Publicity in Great Britain is roughly £.1000 for each millionand-a-half of circulation. I have given you these elementary facts concerning the manner in which we conduct Film Publicity as quite possibly other methods are employed in other countries.
« I believe that Lenin, the great Russian leader, placed the film first as a medium for propaganda in Russia, and whether it is to advance a political creed or to sell goods, which latter is our business, I believe that the film can express the desired appeal more effectively than any other medium. The words of the press advertisement must be converted into mental images by the intelligence and imagination of the reader which are often inferior to those of the copy-writer whereas in the film the pictures already exist and live.
« But although the film has unequalled power of expression it demands a good deal of care and thought to use these powers to the best advantage. We must assume in the first place that the only justification of the filmstory is the product itself. I believe that it is bad selling first to originate a film-story and then to introduce the product as a secondary consideration. The film should be dependent on the product so that without the product the film could not exist. If that point be conceded then to my mind the two great essentials in creating a successful publicity film are the right atmosphere and actual demonstration of the product in use, that is, if it lends itself to attractive demonstration. Let me explain wh at I mean by the right atmosphere. We must consider who are likely to be the buyers of our product and we must see that the characters in the film are what these potential buyers would like to be or imagine themselves to be. We must lift the setting of the story a little above the social grade of the people to whom we intend to sell the product. If, for example, our film is designed to sell artificial pearls we must show that they are delighted in by fastidious, elegant people who, from their surroundings, we judge to be in a position to afford the real variety. If the product is to be sold to men, then our film-story must strike the right masculine note to interest the type of man who is likely to be our customer. For a household appliance such as a cooking stove, it would obviously be demonstrated in a home radiating cheerfulness and efficiency, the kind of home that every woman would like to possess — which brings me to the second point, that of demonstrating the product. Actual personal demonstration of the uses of a product by a salesman is often
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