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260 SOUND MOTION PICTURES
of devices. When it has been called upon to invent new resources it has done so, and has in general maintained all its powers as the breath of distribution and the tongue of the trade.
In many respects, of course, advertising for the theatre remains what it was before sound arrived. It was, then, a kind of profession in itself, subsidiary, but highly developed and organized. Its departments, its methods, its place I have already told in the twenty-fifth chapter of my earlier book, Motion Picture Theatre Management. There the reader, if he wishes, may find them treated in a manner, I believe, still serviceable in essentials. Consequently I shall risk no repetition here, except to say again, with undiminished emphasis, that no adjunct of the screen contributes more to its success.
The newer features or attitudes or slogans that publicity has evolved to meet novel conditions will therefore be my text here; and from the wish to provide concrete benefit in information, I will present some examples verbatim. The reader will therefore see with his own eyes what the trend has been, and local management will be provided with actual models upon which to design publicity for home consumption. Already, moreover, some principles of procedure have evolved from experience. These I shall take up first, for the sake of whatever background they may provide, so that particular illustrations shall stand out boldly.
Now that the sound picture is accepted, the public is not interested in the novelty of attending a performance, but rather in the entertainment value that is offered. It is important, however, to designate in all advertising the type of sound entertainment, and to express clearly the vital features of the category into which the particular type of synchronization falls: all-talking, synchronized score, or singing and talking, as the case may be. So far as