Journal of the Society of Motion Picture Engineers (1930-1949)

one, another off-stage voice somewhere in the gallery; the other, a clearly visual WAG. The Voice-from-the-Gallery had a twofold purpose. The less important of these was that of a gimmick used to sustain interest in the film by the introduction of contrast and disharmony. Generally speaking, nontheatrical film producers act on the premise that it is impossible to maintain audience interest for thirty-odd minutes in a film dealing with the operation and care of a piece of technical equipment such as the JAN projector set. This premise sometimes approximates an article of credo in the trade. Use of the Voice-from-theGallery was a nod to this credo and a form of insurance against possible waning interest in the audience. The more important reason for use of the Voice-fromthe-Gallery was to simulate audience participation in the demonstration and explanation of the projector set. The Voice-from-the-Gallery raised the kinds of questions which, it was anticipated, would exist in the mind of the audience. In this way, the Voice-from-the-Gallery ' acted as audience protagonist during the film showing. It was conceived as somewhat of a character and no attempt was made to disguise this conception in the film. Approximately 10% of the projectionist trainees resent this character, but it is generally admitted that he raised questions pertinent to the subject of the film. The Voice-from-the-Gallery was also used as a device for emphasizing two facts which needed to be established for the audience: (1) the existence, importance and usefulness of mimeographed directions on operation of the projector; and (2) the concept of the film as a specific training aid, rather than a corn Fig. 2. ". . .the off-stage voice was used as a device for interrupting Jim's progress and for repetition and emphasis of the important teaching points of the film. Hoban and Moses: Cameo Production Technique 199