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Photoplay Magazine — Advertising Section
The fighting Arm
(Concluded from page 77)
There followed the days when moving picture screens flashed forth President Wilson's neutrality proclamation for many days and nights, urging the people not to cheer and not to hiss. Then came the German propaganda pictures— you remember them — "Behind ;he German Lines"?
They were put forth by the German government and the story of their introiuction to the screens of America has not /et been told. Their life was short, for ;he stories of the German atrocities be;an coming in. The Bryce report ended ;he neutrality of picture audiences.
Then came the picture theatres' aid in Red Cross, Belgian Relief and kindred issociations.
In New York The Mayor's Committee >f National Defense was formed with (esse L. Lasky as motion picture chairnan.
They issued the first slide of propaganda ever flashed in a picture theatre: 'If you are an American you should be jroud to say so."
It was the call to patriotism, the first aint call which the moving picture first 00k up. We got out the first propa;anda posters then, one-sheet of two ands for theatre lobbies, addressed to he exhibitor and to the public. One of hese early one-sheets was later made the ifficial poster of the Mayor's committee if New York City.
The film's fighting arm was getting trong when war was declared by the United States against Germany. The ilm was ready for war organization imnediately. The National Association of he Motion Picture Industry formed its Var Co-operation Council. At last the notion picture began to show its indislutable reason for existence. Never iefore had there been such possibilities or service, and the story of that service nd its results will redound to the credit f the photoplay, long after the war.
Picture theatres began to see the iossibilities of usefulness as community enters. They became the centers of ropaganda instead of the churches and tie schools. Fifteen thousand fourninute men were enlisted in the great ause. They had a stage as wide as the ountry itself and audiences from every •alk and station in life.
One stupendous gift of the movies at le very outset toward the winning of the 'ar was the presentation without a moment's hesitation of films to be conInuously supplied to the cantonments, •aining stations, transports, hospitals, nd to the huts behind the lines.
Then the first Liberty Loan — under ne splendid leadership of Adolph Zuor, filmdom found itself prepared. Its ommittee cooperating with the Treasury )epartment distributed 70,000 slides oosting the Loan and 500,000 feet of atriotic appeal, shown throughout the ountry. And the tax on the motion icture industry itself cleared $200,000,00 for the government in the very first ear of its effect.
The motion picture industry, and its Hied trades, directly subscribed in the
three loans approximately $25,000,000 in bonds. It has been conservatively estimated that the industry further effected subscriptions, through the medium of theatres, the four-minute men, the motion picture artists, tours and addresses made by the motion picture artists, to the extent of $100,000,000. In the Third Liberty Loan, Famous Players — Lasky stars alone raised over $39,000,000.
The United States Food Administration has successfully employed the screen for the purpose of spreading its propaganda through the distribution of many thousands of slides, the use of thousands of trailers, and the continuous and systematic use of "picturettes," short length films, and in many instances, complete stories, illustrating a specific Food Administration thought, enacted by stars such as Marguerite Clark, Mabel Normand and Elsie Ferguson. These picturettes are still having wide circulation and distribution through the medium of the several news weeklies.
During the latter part of October, 191 7, 17,500 motion picture theatres each received a set of five slides, or a total of 87,500, of Food Conservation — this in connection with a single Food Administration Drive.
In none of the fields of war co-operation, aside from the Federal Departments, has the aid of the film and screen been more effective than in the two campaigns to secure funds for the American Red Cross. In the first drive 200 prints of a Red Cross picture were distributed throughout the country by the largest distributing agencies in the industry, without charge. In the second drive 400 prints were released in the month ending May 28th, and in the membership campaign, October, 191 7, 1,000 trailers were distributed. It has been conservatively estimated that $26,000,000 in pledges and cash contributions came to the Red Cross through the use of the film and screen and the motion picture houses of the industry and its allied interests. Especial mention is due to the wonderful campaign conducted in New York under the auspices of the Allied Theatrical and Motion Picture Team, William Fox, chairman, which, in a single week, raised $1,150,000 as the contribution of the motion picture and theatrical interests to the Red Cross second war fund drive.
The more recent co-operation with the American Red Cross has been the distribution of the two-reel motion picture by James Montgomery Flagg, entitled "The Spirit of the Red Cross."
Three weeks prior to the declaration of war in 1917 the Associated Motion Picture Advertisers, sensing the trend of events, began the planning of a campaign which would co-operate in recruiting for the United States army. Two days after war was declared this campaign, which included posters, motion picture slides, patriotic slogans, went before the public.
Four posters were designed and supplied in large quantities to the recruiting offices in New York City, Boston, Philadelphia, Pittsburg and Chicago.
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