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

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"ENTER THE NEW ART —" 141 almost been completed, and sight-broadcasting plants have sprung up in every metropolitan center across the country. They estimate that two million or more people will watch the show that we are about to visit. One of the men from the public relations de- partment of the television studio meets us at the gate, smiles, shakes our hand. "I'm to be your guide," he says. "Just to show you around, see to it you don't get lost, and answer any questions that may pop into your head." We thank him, and together go through the gate onto the lot of the television studio proper. In general appearance it is not unlike a present- day motion picture lot. It is a small community of modernistic, windowless buildings. How- ever, we soon realize that this television produc- tion unit is much more compact than the usual rambling acreage of a movie studio. There seems to have been very careful planning to in- sure maximum use of every foot of space—with the shortest possible distances from one build- ing to the next. As we walk along, our guide tells us something about the organization. "You know," he says, "there are a number of