Universal Filmlexikon (1933)

sein Ziel nicht verfehlt. Effekthascherei ist in jeder Beziehung verpönt. Effekte, die höher hinausschießen, ..als es die Ware wert ist", könnte man sagen, lassen beim Zuschauer den Gedanken aufkommen, es handele sich um etwas ganz anderes, was angeboten werden soll. Die nadifolgende Enttäuschung wirkt wie eine kalte Dusche: man hustet und ärgert sich! Die Perspektiven des modernen Werbetonfilms sind ungeheuerlich, aber auch gefährlich. Ein Problem ist er nun nicht mehr, da er eine Aufgabe geworden ist, die tausendfach lösbar er>;cheint. Die Mittel sind da, das W erkzeug liegt bereit: Millionen in Stadt und Land sind die Konsiunenlen. elirlichen Beifall jeder guten W erbefilmleistung spendend ! THE ADVERTISING FILM: ITS PROSPECTS BY SIEGFRIED SEHER It is a mistake to think that the possibilities of the modern advertising film are exhausted with the formerlv much discussed "unleashing" of the Camera, the erratic use of decor and illumination or more or less lavish trick and m o n t a g e w ork. Nor is it right to assume that sound is some magic which in advertising films is capable of interesting people in the merits of a commodity and of arousing in them a desire for possession. Though modern camera work and sound treatment present considerable technical possibilities. nowhere is the danger of the excessive em[)loyment of these means greater than in the case of the advertising film, which is nearly always expected to achieve a great deal within the limits of a few feet of film. Tf the advertising talkie is not to fail in its appointed task. the danger of technical juggling for its own sake must not be lost sight of. Yet, throughout the twenty years since an advertising film first flickered across the silver screen there has never been a time when this particular type of film offered such vast possibilities as at present and it is time these perspectives were recognized. The universally acknowledged artistic and technical achievements of the entertainment film are inspiring proof of the vast opportunities which the producer of advertising films has before him. However, the principle that the idea Stands above technique must be respected. But the idea alone will perform no miracles, unless the treatment of the material and the artistic presentation of the idea is designed to penetrate even the heaviest armour of indifference in the shortest possible time. The dynamics inherent in the modern entertainment film, designed to set the delicate chords of the human soul into Vibration by means of rhythmic or staccato play. sentimental or heroic action, or laughter and tears. should also be followed in the artistic construction of the advertising film. Though it cannot be said that the days of the black-andwhite animated cartoon, which presents certain advantages now and then in the case of particularly short subjects, are irrevocably over, the proved merits of entertainment film actors have led producers of advertising films to attempt them with flesh-and-blood actors. The danger inherent in sound technique, i. e. abuse through the excessive employment of inarticulate sounds and irrelevant talk, will pass if the producer of advertising films concentrates on deriving the greatest possible return in atmosphere and interest from the employment of the best pictorial, sound or musical effects within a limited space. It will only be possible to speak of the era of advertising films when we realize that no better intermediary between producer (product) and audience fconsumer) is possible, that there can be no more suitable bearer of the advertising message, than man. It must be a "man to man" affair. Every advertising film writer and advertising film director, once they recognize the enormous advertising value of human play and human speech, will make use of them in order to attain their goal quickly and surely, i. e. to carry away and create enthusiasm in millions of people with the aid of a few feet of film. It must be remembered that human existence is nothing but one long advertising campaign. Hunger and love, ambition and desire, all involve the kind of solicitation that constitutes the most effective advertising imaginable. For this reason alone the modern advertising film producer cannot fail to attach the iitmost importance to enlisting human play, with all its possibilities of subtle shadings that are beyond the reach of trick drawing or tempo arrangement, for the purpose of '"putting across" the advertising idea. The fact must not be overlooked that the advertising film is not made for its own sake. It represents an important link in a chain of other advertising media, in the planning and execution of which the publicity expert is so frequently anxious to find living or life-like, easily grasped means of expression, such as the advertising film offers more naturally than any other advertising medium. However, the employment of human play in the advertising film demands keen consideration of XXVII