Radio showmanship (Jan-Dec 1947)

, "'™=i?:!f5'^ w^*«v. ,,c I GENERAL LIBRARyC ""'"""'"'" lies Aj^^l'^on A>o«ind lY, ihey sec and hear contributes to it. (2) Sound Social Concept Everyone concedes, too, that children's programs should be founded on a sound social concept—reflecting respect for law and order; for adult atithority; the importance of mutual respect of one man for another. We have learned from long experience in working with children and from clinical research by qualified authorities, that the basis of a child's stability is his home and his parents. Obviously, then, no plot or action shoidd be used which might engender doubts in the child's mind as to the stability or security of his own existence. We have learned that excitement which breeds a feeling of personal insecurity in the child should be avoided. While "impersonal" death may not be a real threat for the child, and the killing of enemies, numerical results of battles, and the like are not necessarily disturbing, deathbed scenes of favorite characters, members of their families or other sympathetic characters, may be definitely disturbing and shotdd never become a part of the action. (3) Constructive Attitude AVe know that the everyday virtues of clean living, good morals, fair play and honorable behaviotir are constructive attitudes that should be emphasized. Loyalty, honesty, dependability, unselfishness, tolerance and courage should be some of the personal attributes of the hero and/or heroine and their companions. But, these admirable characteristics should be portrayed in such a way that the characters are believable human beings, worthy of admiration and emulation. They should not be 6>c^6'remphasized so as to prejudice children against a "goody-goody" hero or heroine. Leading adult characters at all times should have the confidence of the child characters and in a difficult situation the hero should never resort to foul play or imderhanded methods. Uncourageous acts should not be sanctioned by him as the solution to any prol)lem. (4) Carefully Plotted Scripts Dunare always villains but there should not be a preponderance of sudi diaraders. In every script the scenes with the "good" characters should outweigh, or at least equal, those with the "bad." Actual techniques and methods of crime should not be graphically explained and, understandably, only those devices already well known to the average child, and unobtainable, should be used. Furthermore, dramatic action and excitement should not be over-accentuated through the use of sound effects for children are quickly stinmlated by sound, and they like it, but a preponderance of sound effects, gun-play, sirens, and similar devices in any one script may create a false intensity in the listener, over-balancing his interest in the plot, and to some children may even prove harmful. (5) Subtle Educational Approach We know% too, that while it is desirable for children's programs to be educational as well as entertaining, educational material as such if planted too obviously, will tend to discourage the young listener, thereby defeating the purpose of the show. Subtly handled, the latest developments in the field of science and invention, geography, history, types of government and racial problems, social attitudes, can all be interpolated into the show patterns so as to increase the interest of the child in the program as well as stimulate his interest and awareness of the world he lives in. All these, and many more constructive features should be in mind when a radio program designed for children is de\ eloped or accepted for broadcast. Today's children are the citizens and the consumers of tomorrow. Let us in radio condition them, if wt can, to the finer things in life. Let radio help to make them better Americans, and, as night follows day, the products they like and have confidence in today, will certainly be the products thev will like and choose— tomorrow. SEPTEMBER, 1947 • 301 •