"Television: the revolution," ([1944])

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86 TELEVISION: THE REVOLUTION conflict of authority. Not even the most rabid television addict will dispute the claim that "Motion pictures are your best entertainment." Of course they are. And will continue to be. The pictures which emerge from the cable of an iconoscope are very different from the pic- tures which emerge from the cutting rooms of the motion picture studios. Television—a rapid medium—can never duplicate the artistic per- fection of the studied cinematic technique. The two industries have entirely different scales of values: one, to turn out eight hours a day; the other, to turn out two hours a month. Despite its speed, television is going to have something which pictures lack. A certain fresh- ness, an immediacy, a spontaneity. A great motion picture is truly a masterpiece—the pains- taking results of endless hours of labor, by thou- sands c«f minds, and hands, and faces. Television is going to produce few masterpieces. It cannot aim for perfection, as do our best motion picture producers. Sight-broadcasting will be a breezy compromise between perfection and speed. The difference between electronic and photographic sight is the difference between an illustration and a painting—between a digest and an ency-