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Look't What We Won!
# Proudly, WTTS accepts the Sigma Delta Chi award for distinguished service in American Radio Journalism.
The national award was won with Indiana University's SCHOOL OF THE SKY NEWS PROGRAM— "IT'S YOUR WORLD." The prize winning show is carried live on WTTS and later rebroadcast over 17 other stations in Indiana, Illinois and Kentucky.
In making the award, Sigma Delta Chi said: "The judges commend the series of educational programs slanted to students of the grammar-school level, for its public service, originality and the value to an estimated listening audience of over 200,000 listeners."
THE
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SARKES TARZIAN STAT
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\\ hile the editing is being done i Mind) Brown. WOR-TV, spends eight In Id hour? on an Italian film i . spots can be picked for commercials. Following radio custom, commercials are fitted in everj 15 minutes. Time of the exact break depends on the film's storj line. In foreign movies, which seem to attract a more intelligent audience. Mind) Brown looks for a quiet point when nothing much is happening. (.rant Theis, film director for WCBSI \ . favors splicing in commercials just alter a fadeout indicating the pa-sage of time. On Westerns, the cliff -hange] type of break is most common. Just before the hero's runaway wagon disappears over the cliff, a cut is made for the advertising message. Since adult don't get so personally involved in \\ esterns as in grade A dramas, it's safe to break in at a high point.
The unhappy experience of Doubleday \ Co., book publishers, illustrates how critical placement of the commercial can be. Doubledav ran 13 weeks of grade A British films on WPI\ Premiere Theatre. After (leaning up on a SI art book, sales on other books went down and complaints flooded in.
Holier Iloge. New \ ork advertising firm handling the account, tells what happened: "We tried everything. First we used two-and-a-half minute spot announcement-, then five-minute spots with live personalities. We shifted the middle commercial toward the beginning, toward the end. everywhere. \nd the editing was carefully done too. But it didn't seem to matter whether ive spliced the commercial in at a high point or a low one: the phone complaints poured in."
I he agency cant figure out why viewer irritation was so great, but guesses that the people attracted to grade \ British films are too "high class." They see a parallel between this film series and their music program on WO\l\. Music station listeners are also critical at times of advertising messages (see "Is Beethoven commercial?" sponsor, ."i June 1950).
Often it's not when' von put the
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