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340 THE PROGRAM ANGLE mind that the end product is for use in the home and not the theatre. For this reason, the action must be kept on an intimate footing and not allowed to embrace the psychological level in- tended for mass hypnotism applications in large gatherings. The motion picture offers so much more in the line of effects and scenery than the live theatre can ever hope to equal even with revolving stages and every other assistance which modern science can offer. At the risk of being accused of indulging in ad- vertising, the author must point to The Red Shoes as the epitome — in his opinion — of motion picture production. Scenes of sheer fantasy completely beyond the scope of the stage were presented in technicolor with a beauty that was breath- taking. Although the remote, professional self realized that all this was done in the optical printer, it had the same effect as superb music from an organ has on a music lover who, although he knows that an unromantic noisy, mechanical contraption produces the ethereal sounds, is carried away by the beauty of what he hears. It is not suggested that television does this, or will ever do it — at least until the quality and size of pictures is improved — but the lesson of using mechanical and optical effects to dress up the stage might well be followed. The greatest problem in television and small independent movies for theatre and television use, is, as usual, finances. Scenery costs money to design and construct. Especially in the case of one- shot television shows it is expensive. Any method of improving scenery or using process shots or the equivalent so that scenery can be kept on slides would net its inventor a fortune. At present this is impossible to do, for the super-imposition of one picture over the other results in unreal, ghostly effects in which one of the pictures shows through the other in a palpable, double exposure effect. However, a system of doing this is now being worked out, and it is probable that before the end of 1950 it will be announced. The small size of the screen and the lack of detail and resolv- ing power inherent in the television system, whether it be all live or film, operates to the advantage of the producer since no picture can be better than the weakest part of the chain. In today's tele-