Universal Filmlexikon (1933)

a thousand and one points, arising, on the one hand, from the nature of the commodity to be offered and, on the other hand, from the class of consumers to be reached. In the entertainment fihn the producer can afford to endow a Star with a halo of glory and remoteness, but the advei-tising film demands a natural, human attitude to all human weakness and desire. In the advertising film the actor must bear in mind that although bis technique and bis method of artistic expression are very decisive factors, be must nevertheless avoid anything that may be above even the simplest provincial audience, otherwise he will arouse a passive resistance to himself and bis Performance, and therefore also to the film and to the commodity offered. This does not necessitate the debasing of the quality of the acting and of the method of expression, but only restraint in otherwise füll movement and action, in order to ensure easy and rapid comprebension. Humour is often a valuable aid, for bumour is capable of nioving more quickly even the dullest people, thus making them receptive to the advertising idea. The advertising comedy sbort in particular allows of the tempo that should carefully be observed in all advertising films, in order to avoid the danger of sudden fatigue or boredom in the audience. However, it is not tbe acting alone that is decisive to tbe success of an advertising film. Speech and music are just as important. In fact, the advertising talkie presents an excellent example of inter-action between sound and picture, for here the skilful employment of speech or music woi-ks out in a particularly striking manner. However, unless sound is handled with great care tbe pictorial effect may be completely destroyed. A buxom, homely housewife speaking to other housewives must not be made to talk like a society lady. The primitive and the populär is sometimes very attractive and apt in the advertising talkie. A child may move mountains if it talks childishly and naively, without making the audience think tha/t it is being given a dose of "blarney". And finally, there is music, the most powerful advertising medium in tbe world. There can be tio advertising talkie without music. If the composer, before composing the music, has steeped himself in tbe nature of the commodity and the character of the class of consumer to be appealed to, if the advertising idea is also reflected in the music, then acting, speech and music form a single whole that cannot fail in its object. Straining after effect is to be deprecated. Effects that go beyond the real value of tbe commodity leave tbe audience with tbe impression that there is sometbing behind tbe offer. Tbe resulting disappointment acts like a cold doucbe; tbe audience get restless and even annoyed. The modern advertising talkie offers a vast perspective, and also many pitfalls. It has ceased to be a problem, since it has now become a task which can be performed in a thousand ways. The means are available, tbe tools are there to be used. And there are millions of consumers everywhere who are ready to respond to any advertising film of merit. SIEGRIED SEHER FILM DE PROPAGANDA-PERSPECTIVES II serait errone de supposer que les moyens du Film Propagande moderne se reduisent au fameux «decbainement de 1 objectif » (si recrie dans le passe ) dans des decors plus ou moins «ä l'occasion», ou bien, par ci, par lä, ä des trucs d'eclairage ou de niontage. II serait egalement errone de croire que le son represente la condition decisive capable de susciter Finteret du public pour la marchandise en reclame et le desir de s'en rendre acquereur. Sans doute, l'activite de Tobjectif et la technique du son offrent-ils actuellement de larges moyens de propagande, mais il ne faut pas oublier que nulle part ailleurs, le danger d exageration de ces moyens menies, n'est ainsi prononce que dans le domaine du Film-Propagande, dont la täcbe essentielle est de montrer beaucoup de choses sur l'espace de peu de metres. Si Ton ne veut pas que la mission naturelle du Film-Propagande fasse naufrage du fait de vou loir jongier avec la technique pour de la technique, on ne doit pas perdre de vue ce danger imminent. n faut reconnaitre, cependant. que jamais. au grand jamais. depuis 20 ans d existence du Film de Propagande, depuis sa toute premiere projection sur Tecran blanc. jamais jusqu ici on n'avait devant soi de si larges possibilites d"exploitation de ce type de propagande. Les achevements techniques et artistiques du Film scenique en font foi. Ici comme lä. d ailleurs, la technique doit etre subordonnee ä l'idee du Film. Toutefois, l idee nue, ne peut ä eile seule, creer des prodiges. Elle manquerait sürement son objet si, faute de prendre corps et de montrer son sujet sous une forme artistique, eile ne pouvait arriver ä faire fondre la glace la plus dure dans l'espace de temps le plus court. La dvnamique du Film scenique moderne, sa XXVIII