Sponsor (July-Dec 1952)

Over half of all network half-hour dramatic shows are on film las of mid -July ABC Lone Ranger (film) Beulah (film) The Erwins (film) Ellery Queen Alive) Date with Judy (live) Tales of Tomorrow (live) CBS Gene Autry (film) Lux Theatre (live) I Love Lucy (film) Our Miss Brooks film) Crime Syndicate (live) City Hospital (live) Suspense — (live) Danger (live) The Hunter (film) Burns & Allen (film) Amos 'n' Andy (film) Big Town (film) Racket Squad (film) Mama (live) My Friend Irma (live) Schlitz Playhouse (film) Luigi _ (live) Police Story (live) Four Star Playhouse (film) NBC Hall of Fame (live) Sky King (film) Roy Rogers (film) Lights Out (live) Fireside Theatre (film) Circle Theatre (live) T-Men in Action __ (live) Dragnet (film) Gangbusters (film) The Doctor (film) Ford Theatre (film) * Martin Kane (live) * Big Story (live) Aldrich Family (live) One Man's Family (live) Shopping for network Cavalcade of America (film) Mr. and Mrs. North .__. (film) 'Considering going film SUMMARY 1 i Network i ABC Film 3 ___ n Live I i 3 CBS 10 9 7 Network not set Total 2 22 o 19 the reminder that the rush to film still spells so much "blue sky": nobody knows yet, they say. what the economic pitfalls are of owning your own film. Some of these "aginners" argue furiously that live production has advantages film can never duplicate: others predict that there's bound to be a reaction from the rush to film which will prove not only bitterly disillusioning but quite costly. In other words, conflicting viewpoints have created two camps whose viewpoints may be summarized as follows: one asks, why not anticipate the inevitable now. and the other, points the finger with alarm. I nlike the argument provoked by the swing to originating radio shows in Hollywood late in the *30"s. this controversy, while also involving Hollywood, brings up economic issues of unprecedented complexity. In going film an advertiser is basically motivated by the urge to reduce his TV cost, whereas in the latter '30's he switched to Hollywood for glamor and. beyond that, better ratings. The switch to film today is a question of capital investiment in programing with expectation of obtaining the final return on the investment through sales of the film product to other advertisers. It also involves the extension of the advertiser's periphery of operations into an alien field, namely, film producing. This kind of branching out is something he is not inclined to do in his own manufacturing operation I for example doing his oyvn lithography, making his own premiums I . Many sponsors with network interests are faced with a dilemma. The question is — which is cheaper and easier for the advertiser — film or live? With a view to clarifying the problem, sponsor polled the opinions of advertisers, agency men. network executives and film producing experts. Special cognizance was given in these interviews to the economic issues: (1) the kind of capital investment by advertisers in film programs: (2) the theory and practical application of repeat programs, or reruns; (3 I the various use formulas written into contracts for network film programs: and (4) the looming role of Hollywood unions in the rerun picture. Here's how the profx>nents of film shape their arguments: 1. No better case for the acceptance of film by the viewer can be made than the fact that it took a film program, / Love Lucy, to get the top rating and establish a record in ratings for the medium during the past season. 2. A quality film has an advantage in competing with a kinescope for prime time in a one or two-station market. Stations will take a print of the film yvhere they might have refused to clear time for a kine. 3. Film offers the closest approach to perfection in production, and, because it can be edited in advance, it minimizes the possibility of public relations problems — a safety factor of no mean value to many sponsors. 4. Film has the great advantage of mobility over live; limiting the production to indoor scenes can make viewing monotonous. 5. Economically, film is the adver I Please turn to page 69) 20 SPONSOR