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36 PLAN FOR CINEMA
machine enabling you to do so. The more complicated the machine, the greater the variety offish. An industry came into being specifically engaged in the manufacture of radio bits and pieces. Tom and Dick and Harry would burn the midnight oil over blueprint, proud in their accoutrement of soldering iron and tweezers close at hand. Neither was this activity confined to Tom and Dick and Harry. Most noble lords could be discovered solemnly fidgeting with terminal, grid-leak, and fixed condenser for sheer love of it. The new wonder sent thousands to their homes. It satisfied the desire to make, and it gave a glow, a feeling of daring in pottering about with the unknown that is electricity. Consequently, the first effect of broadcasting on cinema was a marked decline in attendance at cinema halls. For the fish, having been caught, were entertaining in a very novel way. Something new, the film industry saw quite clearly, would have to be devised.
Broadcasting had come about as a practical possibility almost entirely owing to a scientific device of extreme complexity then known as the thermionic triode — now known as the ordinary domestic radio valve. The valve was the key, it held the master position, and development in radio-telephony had for years been synonymous with the evolution of the valve. In 1906, British patent 18057, granted to Eugene Augustin Lauste and two associates, specified the 'Photocinematophone.' Here, it seemed, were three obvious madmen claiming to be able to make