Universal Filmlexikon (1933)

der Rolle, man kann fast sagen, eines hochwillkommenen Spezialkorrespondenten. Der wahre Pressechef ist der Sonderpublizist im Sinn einer großen künstlerischen Aufgabe, und er muß zugleich der Vertrauensmann für die Presse sein, für den Künstler, und nicht zuletzt für den großen Unternehmer, dessen Aufgabe es ist, künstlerische Interessen mit wirtschaftlichem Elfolg zu verbinden. Kommt aber dann der große Abend, die Premiere, da tritt der Star allein in das helle Licht der Oeffentlichkeit. Kein Mittler kann ihm da mehr helfen, die Kritik waltet ihres Amtes. Trotzdem gibt es, durch die Zeit und die einzelnen künstlerischen Leistungen bedingt, ein bereits feststehendes künstlerisches Konterfei, an dem auch der strengste Kritiker nicht ohne weiteres, und das ist menschlich zu verstehen, vorüberzusehen vermag. Es ist das Konterfei, zu dem der publizistische Mittler — nehme man einen Pressechef oder sonst einen Berufenen an — ganz bestimmt eine Reihe von Mosaiksteinchen beigetragen hat. Kurzum, ein Künstler wird in seinem Erdenwallen, wenn auch nicht immer liebevoll, so doch getreulich von der Presse begleitet. FILM STARS AND THE PRESS BY HEINRICH PFEIFFER, Publicity Manager of the ufa Every actor, even on the threshold of bis career, must seek to establish contact with the Press. The first condition of such contact is, of course. artistic merit; but it is an undisputed fact that merit can be exploited to better advantage if an actor or prospective star communicates with the Press through an intermediary. Artistic merit may even be made to appear in a different light by the publication of purely personal details. At the least, public interest in the actor is thereby intensified, which in turn will lead the Press to devote greater attention to him. A certain interaction will thus develop. If the Journalist or the newspaper proprieter knows that the public are interested in a particular actor or in an already established Star, it is their professional duty to support him. They will thereby be sei^ving the interests of the paper and its readers. However, to be successful, certain limits must naturally be set to communication between the film star and the Press, limits which are imposed by journalistic morality. Thus the first requirement in one who is about to act as Publicity man to a star or to a Coming star is a sense of responsibility, not only as regards the public, but also as regards the man who is to be presented to the public as a star. Unless there is marked talent in the man to be publicized, as a real basis of a great artistic prognostication, a conscientious publicity man must not undertake the task at all. Just as it is impossible to create a permanent market for an unsatisfactory commodity even by the most intensive advertising, so it is impossible to establish a star purely by means of publicity. Naturally, there are various ways of achieving the object in view, provided always that the basis is there. Above all, it is essential to grasp the star's particular individuality and to base the campaign accordingly. Anything particularly individual that differs from the average must be regarded as a peg for publicity. It may be charm in a general way, witty conversation. or an attractive diffidence reflected in facial expression; it may be a pleasant voice, grace of movement, a natural worldliness, or distinction in dress in society plays — all these are things that the Press likes to write about, sometimes even with a little exaggeration. It is a favourite method to make the artist himself talk w ith a view to publicity. Naturally. the artist or star must be given some assistance by the publicity man, though the Press must be certain that the ideas expressed in the articles signed bv the artist have originated from him. and that the publicity man s collaboration is confined to form only. It would be thoughtless on the part of the publicity agent to represent the artist as possessing literary talent, or even genius, when there is no foundation for it. Naturally, the public like to read articles appearing under the name of a star. particularly when thev are characterized by a certain original naivete. Those who are familiär with great artists know that in spite of all their experience and worldlv wisdom they are all somewhat like overgrown children. unaffected by the ugly sidc of life. And if such an "overgrown child" writes with the ingenuity of one, the public are delighted. The professional publicity agent who devotes himself to smoothing the path of talented people will naturally be pleased to give joui-nalists the opportunity of personal contact with the artist. He will arrange intei-views. In many cases the artist may be left alone wdth the Journalist, but sometimes it may be necessary for the publicity man to support the artist at the intei-\ iew. giving the interview a desired direction. Let us assume that the intei-view relates to a film involving a XVI