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Movies for TV - Early Television Foundation

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320<br />

THE PROGRAM ANGLE<br />

in which the sponsor is interested is the three minutes of com-<br />

mercial which he gets out of the half-hour. Twenty-seven minutes<br />

of program are designed merely to drawn as many people as possible<br />

to his station so that when his message flashes on their screens<br />

it will be read by the maximum number of people. Sponsors are<br />

not philanthropists, and while they often get quite a lot of pleasure<br />

out of the fact that so many people enjoy their offerings, they<br />

would not continue them if advertising messages could no longer<br />

be transmitted. It follows, there<strong>for</strong>e, that the message which is<br />

presented in this very brief time is as strong and pulling as possible.<br />

Although the viewers may not reject the commercial, and may<br />

actually enjoy it, they are anxious to get on with the story when<br />

they tune in at the beginning of a program. There<strong>for</strong>e, experience<br />

has pointed up the fact that the opening commercial should be<br />

brief and not delay the story. It may take the <strong>for</strong>m of a short<br />

spot or other brief announcement about twenty seconds. Then<br />

twice more during the course of the program there are two longer<br />

announcements running a little over a minute each. These to-<br />

gether with a closing of about twenty seconds take up the three<br />

golden minutes which represent the entire reason <strong>for</strong> the sponsor's<br />

investment.<br />

The choice of the commercial's position in the show is ex-<br />

tremely important and un<strong>for</strong>tunately is only too often ignored<br />

or not considered, as is the actual text used. On the integration<br />

of these two factors depends in great measure the success or failure<br />

of the investment. To break the action at an extremely exciting<br />

part of the story is permissible; it is done all the time in the<br />

theatre, and the audience goes out <strong>for</strong> a breather or a rest from<br />

the tension. In television the acts are so much shorter that the<br />

relief factor is not so important, but the going out factor is ! If the<br />

commercial breaks in with a gross commercial message just as<br />

the widowed mother of seven young children has been sent to jail<br />

<strong>for</strong> offering counterfeit money in an ef<strong>for</strong>t to save the old home-<br />

stead, the viewers will be in a sympathetic mood where softness<br />

and delicacy of approach will merge with it and continue their<br />

attention. If a jangling or harsh, flamboyant announcement hits

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