TELEVISiON PROGRAMS DESEGNED T0 STIMULATE "WEREST IN READING BOOKS. Thesis for the, best» of M A, MiCHIGAN STATE COLLEGE Marion Elizabeth Crorwell 1954 THE-Elf 0-169 This is to certify that the thesis entitled Television Programs Designed to Stimulate Interest in Reading Books presented by Marion E. Corwell has been accepted towards fulfillment of the requirements for _L1.L._ degree in _Sp.ennh_ 17/1/53 /L/7//¢//§/( T / Major professor..- / Date Jun e 16L19Sh TELEVISION PROGIUil-ES DESIGNED TO .JTII-IUIATE JI‘I‘ELLLCLST IN MEADIE} BOOKS By Mari on Elizabeth Cor-well m A THESIS Subrfitted to the School of Graduate Studies of I-‘Iichigan State College of Agriculture and Applied Science in partial fulfillment of the requirements ' for the degree of i-iASTER OF ARTS Department of (speech, Drzunatics, and Radio Education JUne l95h THESIS K. III-.....fl4oitl. ultr/ fl . ‘21. ‘DIBIE OF COI‘PI‘ENI'S CHAPTER I. All DITROWCTION TO THE PROBIJfl-L............................ me Roblem.............................................. Definition of Terms Used................................. Procedure................................................ Organization of the Thesis............................... II. A SURVEY OF TELEVISION BOOK PROGRAMS...”.................. III. FOUR EXPERIMENTAL PROGRAMS................................. Production Siggestions for the Program THE OLD MAN AND THE SEA................................ Production Script for THE OLD MAN AND THE SEA............ Production Suggestions for the Program THE DIARY OF A YOUNG GIRI.............................. Production Script for THE DIARY OF A YOUNG GIRL-0000000000 Production Suggestions for the Program THE AMERICAN RECORD IN THE FAR EAST, 19us-1951......... Production Script for THE AI‘ERICAN RECORD IN THE FAR EAST, 19hS-1951........................................ Production Suggestions for the Program FORD: THE TEES, THE MAN, THE COIflDANY................. Production Script for FORD: THE TEES, THE MAN, THE COWANYoooooooooooooooooo00.000000000000000.0000.0. 338671 PAGE \J'l \OCONO“ 20 20 22 h3 62 6h 77 79 CHAPTER IV. CONCLUSIONQO00000000000000.eooooooooooooooooooooo0.000000. BBLImMPEH.....OOOOOOOOOOO...0.00.00.00.00...O................. APPmIDBOOO0.00..0......OOO0..OOOOOOOOOOOOOOOOOOOO...00.0.0000... CHAPTER I CIZAPTER I AN INTRODUCBIOII TO THE. PROBLEM Books are among the oldest and most complete of the media in the field of mass corimmication.l They contain all the wisdom of the ages, as well as the stories that have delighted mrfldnd for centuries. No other medium of mass commuficati on except books offers to the world everything of the world and about the world. But the early birth of books and the completeness of their coverage of man do not assure them of a fixed place in the field of mass communi- cation. To maintain a position of status quo in mass ccmnmnication is just; as difficult as maintaining a similar position in arv field of ac- tivity. "Every new medium of mass cormnudcation that nukes its appearance offers a. challenge to every other, books included. "2 In 1923, motion pictures competed with the book business. Radio loomed over the horizon next, provoking an article in the January 15, 1921;, library Journal be- moaning its influence. When television first became an accepted medium of mass communica- tion, librarians and book publishers shuddered. This new medium, like radio and motion pictures before it, offered a definite challenge to boom. Publications such as the m Journal, Saturday Roview if. lmssel Winond Voorhees, "What is Television Doing to Public libraries?" 2.122- 2%}.- ti QWJ mill”! . I Literature, and Publis‘mrs Weekly featured articles dealing with the subject of television versus the reading of books. In August, 1951, halter Brehm, State librarian, Ohio State library, wrote the following proclamation: WHEREAS, rIhere has been invented a most strange and wondrous machine called television, and WHEREAS, Said machine has a fascination for thousands of in- dividuals who appear so bewitched by its mysterious power that they Will sit by the hour watching the machine instead of read- ing books, and WHEREAS, The effect of television is far-reaching in its influence, as evidenced by the great number of sets sold, and the future implications of its influence are without bounds, as evidenced by the tremendous rnmber who yet have no tele- vision set, but eventually will; and WHEREAS, here seems to be some fear on the part of 1:1- brarians regarding television's effect on reading; therefore, be it RESOLVED, That, as librarians, we shall proclaim to our /newspapers, magazines, and particularly to our public officials, <7- that television will make reading unnecessary, and libraries will no longer be necessary ard useful; because it makes news without requiring proof, let us proclaim that every drop in . circulation is due to telexrision; let us proclaim these things to the end that our public officials will agree and believe, and thereby reduce our @propriatiogs and close our libraries. Let us proclaim calamity unfounded. Several studiesh have been conducted to ascertain how television affects libraries, books, and book circulation. in these studies, ques- tionnaires were mailed to either librarians of public libraries or patrons of the libraries. Reaponses indicated that generally when television was first introduced or as a family acquired a set, the reading of books was Bihlter Brahm, "They Proclaim Calamity, " Library Journal, (August, 1951), p. 186. *- *— hWalter H. Kaiser, "Television and Reading Report No. 2," Libra Journal, (Ebbruary 15, 1952), p. 305; Voorhees, 22' cit. , pp. 537757? 5717673; L. 'I'hanas, "Talevision as a Medium for Book—fianotim," Pub- lishers Weekly, CLV (Ebbruary 19, 19149), pp. 967-975. """ 3 neglected in favor of television viewing. But as the novelty were off, the individuals returned to the reading of books. The following are some sample responses as revealed by’a studs,r of the effects of television on reading of patrons of the Wayne Cmmty (Michigan) library: After several months of TV, I became hungry for books. It is getting to be a bore; I prefer Special programs. I would prefer to read, but the rest of the family wants TV and there is no other room in which to read. I use TV for relaxation; books for serious purposes. by reading is more practical since getting television. I have no time to read now, and I no longer take out books (except when husband is out of city )3 the television set and magazines are all I need to occupy my extra time. I don 't believe TV will have any influence on the real ma&r. I read more than ever. I dislike TV and have to be doing something while the rest of the family is watching. I did not read very much until I got interested in stories on television and then found that there were good stories like those on television in books at the library.5 Studies further indicated that adults -- more them young peeple and children -- tend to negleot reading because of television.6 Bennett (brf predicted in 19149 that once the novelty of having tele- vision in the hane'has worn off, set owners will not watch more than two Programs, on the average, an evening. 5Walter H. Kaiser, "TV and Reading Report No. 2, " librari Journal, (F‘anlary’ 15, 1952 )9 P. 3050 6.10.9 221:- w I. “-1. \__~’ oodg They will wait home for something they want to see very badly. Mlile they wait -- or after they 've seen what they want to and it 's too late to go out -- they will be sittim in their own hanes with time on their hands. Who knows but what a few of them may form the brand new and intoxicating habit of picking up a good book.7 mdeed, statistics seem to have supported hr. Cerf 's Optimism. Compared with 1950, the 1951 effect of television on circulation of books seems less aninous. 'me 1951 study concerning television's effect on reading, reported in 1952 by Walter H. Kaiser, is the latest available source of information on this subject. Although, according to two studies, the trend of public library cir- culation both total and particularly per capita, is down from what it was ten years ago, it stands to reason that the trend of decreased circulation is not entirely attributable to television. Such variables as extremely hot weather, pepulation shifts, accessibility of libraries, and uncertain econanic and social conditions, to mention only a few, undoubtedly have a definite bearing on the amount of reading engaged in by the public. It is believed that even if television has no long-range adverse effect on the reading of books, if wisely used it can become a vital tool to increase interest in books. If libraries could afford television time on leading networks and if these programs, put on by eSpecially trained casts, depicted in a dramatic manner library services and 7Bennett Cerf, "Trade L'Jinds, New Bugaboo That Has Book Publishers Weeping, " m Review of. literature, XXXII (February 26, 1949 ), p. h. “flan-.001 resources, there neuld be considerable interest. . . . However, most libraries to date have to be content with occasional in- vitations from local television stations where fair programs have been put on by librarians who are at best only very ama- teur television artists. . . . According to Sydney Strotz, NBC vice-president in charge of television, surveys made by the National Broadcasting Company and by various advertis- ing agencies for their clients prove beyond any doubt that by every cri- terion television achieves results that are four or five, in some cases as much as twenty times as great as results achieved by other media} Marjorie Abrams, Program Content Specialist at WOI-TV, Iowa State College, feels, There is little doubt that audiences reSpond well to book programs, provided the material is presented in an interesting and fast-mov- ing mnner. rme need and want for cultural betterment is one which we have not yet begun to satisfy fully.10 I. THE PROBLEM It was the purpose of this study to write four fully-scripted fifteen- ' nfiJmte television programs which would be part of a series designed to Stimflate interest in reading books. Each program features a different book, presenting its contents in a marmer as varied and interesting as the techniques of television allow. Books were chosen from four different categories : 8Voorhees, 32. 93.2., pp. 572-573. mums, E. 92:20, p. 970. lOIrIarjorie Abrams, Personal letter to the Author, October 8, 1953. \‘ll Fiction - THE OLD MAN AND Ti—IE SEA By Ernest Honingyay Biography - THE DIARY OF A YOUNG GIRL 11y Anne Hank Political Science - THE MERICAN RECORD IN THE FAR BEAST, 1915-1951 By Kenneth S. Iatourette History - FORD: ‘I'IIE Tll'IES, THE MAN, THE COMPANY BY Allan Nevins Programs were written for production in the studios of WKAR-TV, the I-tichigan State College station, to fulfill a need for this type of program material. ‘Ihey were intended for a general adult audience, since the books they pronoted were considered adult reading material. II. DEFINITION OF TERI-IS USED Television. Television is the transmission and reproduction of a view, scene, object, image, or person by an electronic apparatus that converts the light energy received by it into electrical impulses in such a precise and organized manner that the electrical energy may be transmitted,- and on being picked up by an appropriate receiver, recon- verted into visible light rays which take the shape and form of the ori- ginal view, scene, object, image, or person.11 ”Herbert True, TV Dictionary for LEODSOI'S, (New York: aoonsor Publications, Inc” 19507 p. 13. II] . PROCEDURE Throughout the entire project, the author worked closely with 11‘. Frances Skinnel, Director of Reader Services at the I-iiciiigan State library. Books recommended by the American library Association as being worthx-Jhile and outstanding were read, with final selections made in collaboration with Z-Ir. Skinnel. Books were selected on the basis of their timeliness, national impact, and suitability for presentation on television. After each book was selected, it was analyzed carefully to determine the most satisfactory format for the program featuring it. he format of each program was established according to the subject matter of each book, since some books are more readily adaptable to dramatic presentation, others to a discussion-type program, and still others to an interpretive reading format. Books were chosen from four different areas of subject- matter in order to demonstrate the possibilities of presenting programs promoting books in divergent fields. Biographical data concerning the authors, as well as critical reviews of books were compiled.. Information was also secured pertaining to events occwring in the period of time dealt with in the books. Although much of this material was not used in the final scripts, it served to broaden the author's knowledge and appreciation of the books investigated. In writing the programs, it was necessary to bear in mind the production facilities available at WKAR-TV and the resources for talent to appear cm the programs. 8 In order to make this study more complete and meaningful, all possible sources were investigated to ascertain what has been done and is being done via the medium of television to stimulate interest in reading. letters were taitten to the networks, libraries, and various television stations inquir- ing about programs of this type, and their success or failure. Results of this survey appear in Chapter II of this study. IV. ORGANIZATICN OF TILE THESIS The resultant data were divided into four chapters: Chapter I - An Introduction to the Problem Need Purpose Proce dure Organization A Survey of Television Book IrOgrams Chapter II Chapter III Four Ezqaerimental Programs THE OLD ram Al-ID THE SEA THE DIARY OF A YOUNG GIRL IRE n-IERIGAN RECORD IN THE FAR EAST, 1915-1951 FORD: THE TD-IES, THE MAN, THE cor-ens Chapter IV Conclusion Smmnary Rec ommendati ons Bibliography An appendix containing a glossary of television terms pertinent to the thesis was also included. lei. it!!! . . r / V ._.. . o, v. CV ‘ __ CHAPTER II CFD'IPTER II A SURVEY OF TELEVISION BOOK PRCDRAI-is Although radio has been used to stimulate interest in reading since 1933 ,1 relatively little has been done in this area on television. A study of program logs of the four educational television stations now on the air revealed that Milli—TV, Channel 60, is the only educational tele- vision station which offers no live program designed to interest the public in reading books. A series of discussion programs kinescope recorded by WOI— TV, Ames, Iowa, FROM THE I-illID OF MAN, is shown on ‘rIIO'LR-TV each Monday afternoon frcm five to five-thirty o'clock. Book programs offered by KURT, Channel 8, the Iiouston, Texas, educa- tional television station are predaninantly for children. CHILDREI‘I'S LITERA- TURE is presented each Monday and Wednesday from four-thirty to five in the afternoon. Iron five to five-fifteen on the same days, BOOICLAID FOR CHILDREN ' is featured. Each Friday fran 8:30 to 9:00 P.I~I., FRCi-i THE I-IIND OF MAN, the kirnescqve recording produced by WOI-TV, Ames, Iowa, is shown. KTHE, Channel 28, Los Angeles, California, the second educational tele- Vision station to begin its on-the-air operation, offers YOUR PUBLIC LIBRARY on Friday evenings from eight-thirty to nine o'clock. The MOI-TV kinesc0pe, FROM THE MIND OF MAN is shown on Saturdays from 8:00 to 8:30 P.2-I. Pittsburgh's wean, alannel 13, which joined the ranks of educational ’television stations on April 1, 1951:, offers a live program for children _... ‘v— m 1E“ ances Go PWRBI‘, 3333 Library Broadcasts, (New York: The 11. w. 13°“ Canary, 19u8) p. 29. Emmi. lin 55/ - . 10 designed to stimulate interest in reading. Called, EJG‘TOLZIZTG THE Gim‘tT OUT- DOORS THRU READIYG, it is aired each Friday afternoon fraa one-thirty to two o 'clock. On the network level, NBC-TV began televising AUTHOR IEISTS TIE GEITICS on July 10, 19h7, and it has proved successful enough to continue on the program schedule. The program features an author discussing his book with one critic for him and one against him.2 (he NBC-TV book program for children is televised only in the New York area from h:30 to 5:00 P.1-I. Monday through Friday. It is called, ONCE UPON A TIME and presents l-eria Cimino of the New York Public library reading aloud and showing books and illustrations on the screen. Two other NBC-TV local programs, WE'RE 0N and ARM CHAIR WANDERER, occasionally feature authors or books.3 CBS-TV offers no regular book programs although Quincy Howe sometimes mentions apprOpriate books on his UNITED I'IA'I'IOEIS CASE BOOK, broadcast . Slmday’s at 6:30 I’d-1.1” A' series of book programs called SEIImIAR was presented on ABC-TV from September, 1952, to late spring, 1953, in cooperation with Columbia Univer- sity. "me projectwas widely acclaimed by educators, students, critics, and the general public. "5 2L. mamas, "Television as a Medium for Book Promotion," Publishers M: CL? (February 19, 191:9), p. 973. 310c, 932. h-EE’ p0 971‘- 1953 SRuth Trexler, Personal letter to the Author, ABC, New York, November 9, ll CRITIC AT LARGE is another ABC-TV program aired from 8:30 to 9:00 I-‘.I~I. on Wednesdays, on which John Mason Bra-m talks about books, as well as art, music, and drama, with three guests. rThe program is ad lib.6 The Dmont Television Network has no regular book program, although books or authors are sometimes featned on COURT OF CURPEIIT ISSUES, aired Mondays from 8:00 to 9:00 13.11.? WPDC-TV, a New York City station, offers I'IAGIC BOOKS from 5:115 to 6:00 P.1-I., Friday, Saturday, and Monday. Frank Paris appears on the show with a puppet and reads a book for children with record description. 'Bre puppet comments during the reading.8 In November of 1951, Miss Gloria Chandler initiated a series of tele- Vision book programs for children on KDKl—TV, Seattle, Washington, under the general title, TELAVEIJTURE TALES. The program combines drama and story telling with exceptional results. libraries within viewing distance report that within two hours after a pregram is shown, all books written by the particular author of the day have been rdthdrawn from the library.9 Miss Ruth Harritt, of the Seattle Public library has this to say about the en- thusiasm crest ed by TEIAWEITI‘URE TALES: 633101133, £0 93-20, p0 9750 7Ibid, p. 97h. 831%,,333. 52.3. , 9Gertrude G. Broderick, P6rsonal letter to the Author, Office of Em- cation. Ieshingtm, D. 0., October .7, 1953. 12 It is the kind of demand that continues with increasing interest and keeps us replacing copies in greater numbers to fill the de- mand. We are delighted with this new TV medium that helps us reach a wider audience. We know, too, by requests from adults that some of the stories are going into home libraries.10 Past the experimental stage, producers of TEIAVLEITUIE TAIES declare that there is no longer room for doubt that the right kind of television program can and does stimulate reading. "A carefulihr thought out design for viewing has proven that the newest of the mass cozmmlnications media can be used constructively without loss of interest. "11 hiring the past three and a half years, MOI-TV, the Iowa State College station, has presented four different series of book programs. ‘Ihe first, entitled, BOOKS ON TRIAL, dealt with currently popular books and used a moderator 81d two guests, each with a strongly different point of view about each book. The second, FROM THE MIND OF MAN, used "great" books, both of the past and present, from the "Declaration of Independence " to Koe stler's, "Darkness at Noon." READER'S CHOICE was the title of the third series, a summer replacement. The fourth series, currently in production, features a permanent panel of three members with a different guest each week. This series promotes soft-cover, pocket books.12 THE OPEN BOOK SPEIF ROOT-I, presented by armcuse University on Station WSYR— TV, Syracuse, has proved a hearty success. The programs feature a . lobbncy Faullmer, "Books versus Booctops; Telaventure Tales, " Wilson 931111 Bulletin, xxvr (June 1952), p. 815. """"“ lllbid, p. 816. lZMarjom‘e Abrams, Personal letter to the Author, MOI-TV, Ames, Iowa, October 8, 1953. w..— 13 group of university professors guided by a moderator, who assess the book's merit in such a way as to persuade the viewer to road it. Each program uswalJy concerns itself with books which are controversial in nature, or associated with controversy. Most often this means non-fiction, but not always. For example, 333 _H_e_r_e_ t2 Eternity was discussed when it appeared. ‘Ihe feeling of the producers of the series is, "than we can develop an ar- gument about a book, we attract attention to the program, and to the book. "13 ‘lhe university of Chicago, in cooperation with Great Books Foundation, presents WHAT'S THE GREAT IDEA" every Tuesday from 7:00 to 7:30 PM. over WBKfi-TV in Qiicago. The program features a panel of experts, with a uni- versity professor as moderator discussing ideas based on works in the Great Books Library.111 The Detroit Public Library was given a guest Spot once a week on one of the Detroit telewrision variety programs for three or four months last 3,331.35 The Montclair, New Jersey, Public Library has been active in the pro- duction of television programs, each of which publicizes available books in some particular field of interest. The programs, using mostly a dis- cussion-type fomat, are aired on television station WATV in I'Iontclair.16 13Arthur Weld, Jr., Persmal letter to the Author, Syracuse University, Syracuse, New York, October 7, 1953. th mGertrude G. Broderick, Survey of Educational 'llelevisionPrograms for e School Year 1952-53 Was ' ton "fi. 0.: U. 3. De artment of Educati'a'n“ rgssrtt-vr- -- -" ( hing ’ P ' Det :LSRay Ihhoney, Personal Ietter to the Author, Detroit Public library: r0113, mchigan, November 21;, 1953. pme ml’hrgexv Quigley, Personal letter to the Author and Related Material, Public library, Montclair, New Jersey, NoVember 23, 1953. IUL Under the supervision of the City l-ublic schools, 3-mSU-‘N in New Orleans presents TEEN AGE BOOK REVIEW each Wednesday from 21:00 to h:3O P.IZ. From six to fifteen young peOple participate each week, some of whom dramatize roles from the books reviewed.17 The public and parochial schools of Philadelphia cooperate to produce S'EQRITII-E on NHL-TV each Fridzv. "'Dlis program features stories by guest authors, librarians, and others to stimulate interest in books, the charac- ters, and the peOple who write them. "18 The Indianapolis Public library presents a fifteen-minim weekly story hour with one of the children's librarians telling stories to a group of three children. In Milwaukee, the Public Library has produced a. series called, TODAY IN HISTORY. In 1950, the Minneapolis Public Library engaged in a series of sumner reading programs in which the children's li- brarians discussed with a small studio audience the books the children had read and liked-.19 The Junior league of San Francisco, in cooperation with the San Fran- cisco Public library, produced a series of thirteen thirty-mimte television programs for young peeple called, STOKfTEllER. The programs, aimed at creat- ing greater interest in reading books and encouraging use of the public li- braries of the nation, seek to provide a canbination of entertainment and 17Broderick, $0 92-20, p. 114. lBJbid, p. 29 {L9R- W. Orr, "Libraries and Educational Television, " American library W m XL" (Septwber 1951). p. 28h. __.__.._ 15 education for age groups ranging to sixteen years. Originally produced on KPIX, San Francisco, the show received an unempectedly high audience rating. The series, reviewed in Variety, was described as "narration and eye ap- pealing dramatization . . . which swings into an upper bracket of artis- tic achievement. " ‘lhe thirteen programs in the STORYTEIIER series were Kinescope recorded and will be circulated to educational television sta- tions by the Educational Television and Radio Center, Ann Arbor, Itinhigan.2O A one-time book program was presented by the Navy Pier Division of the University of Illinois library in the Spring of 1951. As part of its open house, the library televised the first folio edition of ShakeSpeare featuring an attractive young lady dressed as Juliet.21 In Baltimore, I‘Iaryland, the Enoch Pratt Free Library, Station MIAMI-TV, and the Walters Art Gallery combined resources and talent to produce a . series entitled, IEY TO THE AGES. 'Dle programs were formally initiated on January 17, 1951:. after a short trial series held during the summer months. ‘Ihe purposes of the program were, by lively discussion, to encourage the viewer to read the books selected for presentation, to stimulate an interest in the objects belonging to one of the country 's leading art museums and to present, coherently and accurately, segments of our cultural heritage. An informal-type format was used. Three persons, two from the Gallery and one from the library, appeared on each show. The Opening shot focussed 20"Film Series Descriptions " Educational Television and Radio Center, Ann Arbor, Ivfichigan, spring, 195 . p. 2. Zlarr, loc. cit. 16 the viewer 's attention on the book—j acket, flanked by two objects, while a narrator established the period and mentioned the author and the darts "cast." The set was designed basically to resemble a living room includ- ing an inset case for display'of smll objects and tables, bookcases and other supports for the larger pieces. A rectangular opening in the wall, framed as a window, was used for slides projected on a rear-view screen placed in back of the opening. Following the initial shot, the camera would move to Dr. Theodore L. Low, Director of the Galbry's Department of Education and Master of Ceremonies. Dr. Low would make introductory com- ments and present the other two participants. From there on incidents, characters, plot or characteristics of the author would be discussed by the participants moving about the set as the need arose and talking some- times to each other and sometimes directly to the audience, depending on the circumstances. Narration by an off-stage voice was frequently em- ploy-ed to bring in quotations fran the books. This proved especially ef- fective when a building or character displayed on the screen could be de- scribed in the author '3 own words. Brief selections from the classics were also incorporated and read by the participants, as when Mr. Richard Hart, Head of the Literature Department at the Pratt Library and co-organi- zer of the program with Dr. 1m, read excerpts from the works of Chaucer and Homer. Reaponse to the program was gratifying. The following are typical of Garments received after each KEY TO THE AGES program: 1'? This is the sort of thing I have been looking for in television programs. It was quite one of the most honestly good and thoroughly worth- while programs I've seen and your skill in gearing it equally well to a wide range of different interests and intelligence was master- 1y. It is the first thing that has ever been able to get me up so early on bunday. The 1951; series of KEYS TO THE AGES was broadcast each Slmday from 12:30 to 1:00 PM. over WAAM-TV from January 17 through March 28, 19521. Plans are now underway for the series to continue next winter.22 Although information was not available as to the most effective format for a program to stimulate interest in reading, it is apparent that any ‘_ program with this purpose which is presented in a way which will arouse interest on the part of the audience will bring reader response. Possible types include dramtizations, discussions, interviews, interpretive read- ings,- qtdzzes, children '8 story hours, and straight book reviews. Selec- tion of the form for presentation of the book can be based on the validity of the form in which the author has chosen to cast m work, whether it is non-fiction or fiction; the appropriateness of the form to the purpose of the program; the suitability of the form for use on television and; the consistency of the form with the available resomes--including equipment and talent. 22Tneodore L. Low, Personal letter to the Author and Related Material, Baltimore, Maryland, May 29, 19%. 18 Charles Sherman, in charge of book club and nail-order advertising at Doubleday, proved to lfimseli‘ that "a very heavy pitch for a nun-1.1mm of three minutes" was necessary to sell a book via radio, or a fifteen- minute program built entirely around a book. Mr. Sherman explains, how- ever, that a "heavy pitch" is not suited to television. With the aid of visual presentation, the announcer need not shout or plead. ". . . books can be sold more persuasively when evaluated by the eye as well as the ear. "23 There are many reasons why television has not been used to greater advantage to stiJmilate interest in reading books. Perhaps the greatest is the cost. Evening Class A hourly rates on commercial television sta- tions range all the way from 23250 at KGB-TV, Albuquerque, New Pbxico, to $5,560 at WNBT, New York (fityfih ‘Ihis is merely the station time cost; if paid actors and script writers are used, extra fees must be paid. Ob- viously, libraries, or even book publishers, do not have a budget which will allow them to meet commercial time rates. If a library can persuade a station manager to carry the book program as a public service feature, the problem of a time fee is solved. Educational television stations and libraries can wdrk together in producix'lg programs to stimulate interest in reading; thus fulfilling the station's need for high quality program ma- terial and the library '3 desire to increase book circulation. 2331mm, op. cit., p. 972. 21‘"TV Pioneers: The First 108 TV Stations, " $011399 VIII (April 19, 19510. pp. hs-m. l9 librarians interested in using television as a medium for book promotion are faced with the problem of finding; staff numbers with the requisite time and talent to plan and produce television shows. The Opinion has been expressed that the efforts of libraryr staff members would be "hepe- lessly amateur" on television cornered with the quality of talent avail- able for national television programs.25 As television becomes better understood and as librarians develOp more of an awareness of its poten- tial use, the talent and time of many librarians will undoubtedly be channeled into this area. Program forma ts will have to be planned in accordance with capabilities of available talent. Since television production teelmiques differ from those used in radio, theater, or motion pictures, anyone who wishes to utilize the medium most effectively must have some knowledge of its limitations as well as its possibilities. Perhaps an additional reason for the relative- 1y few television programs designed to create interest in reading books is that librarians are not aware of the possibilities of television ~- educational television in particular -- for their use and are, perhaps, a bit baffled by the complicated production requirements. Both Hr. Frances Skinnel of the Michigan State library and Mr. Ray Ivhhoney : of the Detroit Public Library agree that this area seriously needs a. Series of programs to make people reading conscious.26 It is heped that the programs which are included in this study will be a step toward ful- filling that need. zsmr, mo 25:31.0, p. 2830 26Phhoney, 2.23. 311.; Sldmel, oral conmunication, June, 1953. CI‘LAPTER III CIL‘LP‘l‘lfll III FOUR EDERD-IEIITAL PRCERMKS ILZODUCTION JUC'GLSSTIOIIS FOR THE PRCflmll-i TIES OLD MAN AND THE SEA rIbis is a two-scamera show combining story telling and drama enhanced by Special effects and visual aids. It features a silhouette effect made possible through the use of a rear projector, with which the WAR-TV studios are equippped. Since this program uses a live cast, careful selection of actors to play the roles called for in the script effectively would be re- quired. Choice of a capable interpretive reader is eSpecially important since he carries the continuity of the entire program. Since the subjec- tive approach is used, the reader must possess the quality of being a welcome guest in the living room of the viewer. This program would re- quire more rehearsal time than the average, although the blocking and pro- duction details could be planned outside the studio, with an organized one-hour camera rehearsal. The on-camera cast includes the story teller, the old man, and the boy. 'lhe story teller, or reader, must be taps in order to sustain in- terest and impart empathic reaction. For this story, the reader should be male. He should be dressed in casual Sports attire -- possibly a Sport Shirt and dungarees. The old man would require make-up and should possess the ability to sound old in the dialogue at the beginning of the script. With the aid of make-up he should appear thin and gaunt, with deep wrinkles; 21 old-looking, yet active and alert. He should have the outdoor look -- well tanned -- and should have white hair. The boy should be in his teens, rather short and slender. The other characters should be chosen for their voice quality -- Hemingway's should be rich and pleasing; the others should offer contrast. The silhouette effect can be attained by several different methods. One is the use of the rear projection machine available at mull-TV. A piece of clear glass can be placed where the PP slide is normally inserted on the projector and the pantanime action can take place behind the trans- lucent screen. This will give a shadow effect and the boat and action con- nected with it can look realistic without a great deal of effort in build- ing complete props. SUperimpositions throughout the script offer no problem as long as Slides are made with dark backgrounds and light lettering. The program could be produced smoothly with two cameras. Since this is the first program in the series, extra rehearsal time would be required for perfection of the opening. In subsequent pregrams the opening would beccme routine and offer no problem. PRODUCTION SCRIPT FOR TIES OLD MAN AND TIE SEA VIDEO LII-‘IBO -- CU OF BOOK OPEN BOOK AND PLACE KEY IN CEI‘JTER ANTI: OF IT DIZ TO SLIDE OF HAWAIIAN SETTING SLIDE: PATH LEADING TOWARD MDAVEIUI LIGHT DIz TO MCU OF ATTRACTIVE GIRL READDIG BOOK. GIRL LOOKS UP, SMILES AND BECKONS AUDIENCE mum THE BOOK. DIZ TO-- SUPER SLIDE: THE MAGIC KEY OVER CU ANN: OF BOOK AND KEY SUPER SLIDE: MICHIGAN ST TE LIBRARY LOOSE SLIDE. COVER OF BOOK, CHEAT BOOK TO CMIERA FOR CU OF COVER: THE OLD MAN AND EE““ DIZ TO FILM STRIP OF FISHING SKIFF ON ROUGH OCEAN WATER SLOWLY REMOVE MEI, @032 AUD IO (MUSIC: Imam UP...TIDlI-fi3 Io BG) Books are keys to wisdom's treasure Books are keys to lands of pleasure Books are paths that upward lead Books are friends. Come-"let's read. (MUSIC: THEME UP 10 SEC THEN TO m) The Magic Key) —- A program featur- ing books you'll want to read. This series of programs is presented in cooperation with the Michigan State Library and features timely new books as they become available to the public. Today, we Ire present- ing a Pulitzer prize-wimdng novel by a well known mnerican author. 'lhe book: TILE OLD MAN AND THE SEA, written by firms st Hemingway. (MUSIC: THEM; OUT. FADE IM EBB TIDE-TYPE MUSIC TO FULL) 23 VIDEO AUDIO DIZ TO READER (2m. OR B.D. D: DC FEATURING SKY AND WATER MIIH FISH- ING BOATS SCATTERED ABOUT IN IT. READER IS SIITDIG ON SAND IN FORE- GROUND LEANING A.GAII-{=SI Dow OF OLD FISHING BOAT.) 0.5. COVER SNUI. (DEBRA muczcs RIGHT IN ARC AND DOLLIES IN TO SHOULDER SHOT OF (:NSIC: FADES SLOWLY OUT) I? a READER: (LOOKS UP FROM BOOK IN HIS HAND) I-Li...I've been reading a story. It's the story of an old man. That doesn't sound unique, does it? But this stonyr has a Special moving ap- peal that captivated my interest until I finished the book. Would you like to hear the story of THE OLD MAN AND THE SEA? DOLLY BACK TO ECU OF READER As you 've probablyr guessed from the title, the book tells the story of an old man -- a fisherman. then he was younger this man was the great- est fisherman of the Cuban docks. The other fishermen called him the Champion, but now he's old and he fishes alone in a skiff -- something READER GES'I‘URES TOWARD SKIFF like this one. The old man is coura- geous and skilled, but his recent AUI) IO READER: run has been all bad luck. The DIZ TO SET 2 - INFERIOR OF SHADBI FISHIII} CABIN. VERI PLAIN. ONE- SHOT OF BOY ET ‘ERING CABIN CARRY- IG METAL COI‘ITAIIIFR OF FOOD. PAN WITH 1301' TO TWO-SHOT OF BOY AND NAN. I-‘IAN IS SITTING ON FLOOR LOOKING AT OLD IMJSPAPER BOX: :3 I SITS DUI-IN, TAKES LID on: CON- MAN: TAIUER AND TAKES Iwo SETS OF mums, FOR (5, AND SPOONS OUT OF HIS POC— KET WRAPPED IN PAPER NAPKINS. BOY: DOT GIVES MAN SILVEIU‘LARE. THEY It‘ll-I: LEAN OVER cormD-IED AND EACH EAT FROM A SIDE OF SAIE uISIL DOI: MAR : Gulf Stream hasn't been kind to him. In fact, he hasn't caught a fish for eighty—four days. That '3 two and a half months -- a long time to be without an income. The old man would have starved if the boy, l-Eanolin, hadn't brought him food each day. The old man taught the boy to fish and the boy loved him. Hi, Santiago. I brought you some supper. Thank you. that are we eating? Black beans and rice, and some stew. Good. Shall we eat ? (AS IE EATS) Santiago, take me fishing with you tomorrow. No, you 're with a lucky boat now. Stay With it. VIDSO DOLLY IN TO TIGHT TWO—SHOT CU BOY TWO— SHOT CU BOY CU OLD MAN CU BOY NAN: NAN: I-IAI‘I : BOI: mv—I t—D AUDIO But remember how you went eighty- seven days once and then we caught big ones every day for three weeks? I remember. I know you didn't leave me because you doubted. Papa made me leave. I 'm a boy and must obey him. I know. It's the thing to do. He hasn't much faith. No, but we have, haven 't we ? Yes, but I'd like to help some I-Jay. If I can't go fishing with you, may I get the sardines for your bait? All right, 1331101111. Santiago, how old was I when you first took me in a boat? Five, and you were nearly killed when I brought the fish in too green and he almost tore the boat to pieces. I can remember the tail slipping and banging and the thwart breaking and the noise of the clubbing oi‘ the fish. (EXCITEDLY) I can remem- ber you throwing me into the bow 0 'fl‘ VIDSO CU OLD MAN CU BOY CU OLD I'IAI‘I TWO— SH OT BOY RISES AND E'IAIKS TOWARD DOOR. LET IIII'I WALK OUT OF RUE. DOLLY IN ON OLD MAN. DIZ TO HCU or RIADIR -- SET 1 BOY: BOY: MAN : BOY: MAN : BOY: HAN : AUDIO where the wet coiled lines were and feeling the whole boat shiver and the noise of you clubbing him like chopping a tree. Can you really remember that or do you just remember what I told you about it? I remember everything from when we first went fishing together. If you were my boy I'd take you out and gamble. But you belong to your father and mother and you're in a lucky boat. (SIGHS) Well, all right. I'll bring the sardines in the morning then, Santiago, and some baits too. I want to be out before it's light so I must leave early. Sleep well, old man. I'll see you in the morning. Good night, Lhnolin. READIA : After the boy left the old man rolled himself up in a blanket am}. went to sleep. The 11:32:39 '.'l'r).3i3 AUDIO LEADER: morning he awoke early to get ready for his eir'hty—f.‘ifth day of fishing. The be;r came to the old man 's shac}: before dam: and already Santiago was preparing his gear. DIZ TO SET 2 - IIIITERIOR OF FISHING CABIN. ONE-SHOT OF OLD MAN GETTING HIS IMRPOON AND OTHER FISIIIHG GEAR TO- GETHER. BOT WALKS IIFTO PIC— TLRE TEEN SPEAKS. BOY: How did you sleep, old man? I-IAI‘J: Very well, I-Ianolin. I feel con- fiderrt today. BOY: So do I. I brought you sardines and fresh bait, and here '8 some coffee, Santiago. OLD MAN SITS ON FLOOR AND DRDIKS MAI-I: Think you. This is going to be COFFEE OUT OF CAI‘I a good day for fishing. “me cur- rent is just right. BOI SITS BESIDE l-IAI'I 1301': There are you going? DOLLY IN FOR TIGHT SHOT LIAN: Far out. ‘Ihen I'll come in when the wind shifts. BOY: Keep warm, old man. Remember, this is September. MATE: Yes...The month when the great fish come. VIDEO CU 1211 I CU BOY CU HAN CU BOY TWO-SHOT. OLD LIAN RISES BOY FATS OLD MAN ON BACK DIZ TO HCU OF RIIADE‘R - SET 1 MAN: BOY : E-IAII: BOY: AUDIO Do ”you think: you 're strong enough for a truly big .ish? I think so, and there are many tricks. But I hope no fish will come along so great that he'll prove me wrong. There 3.3 no such fish if you Ire still as strong as you say. I may not be as strong as I think, but I do know many fishing tricks. And you have lots of courage. I must go down to the sldff now. I want to be out before it's light. Good luck, old man. Good luck on your eighty-fifth day of fishing. Eighty-five is a lucky number. How would.you like to see me bring in a fish that dressed out over a thousand pounds ? I hope you do. READER: The old man and the boy went down the trail to the skiff and slid her into the water. (SOUND: WATER SPLASHING TEEN 1.1111711} AGAINST BOAT) VIDEO SDTER SIHIOUETTE OF OLD I-EAN IN BOAT SENATE-3G ROI'IING AND ROCK— ING AS IF HIE WEEDS ON WATER. HAVE READER IN 01313 COM‘JER OF 50m AND SIIJIOUETTE IN OTI’ER--SPLIT SCREEN EFFECT LOSE RF .ADER Djiz To Fm: CLir--Dms FLYING om WATER AUDIO READER: Then the old men began to row out of the harbor in the darl-z. There were other boats from the other beaches going out to sea and the old man heard the dip and push of their ears even though he couldn't see them. Scmetimes some- one would Speak in a boat. But . most of the boats were silent except for the dip of the cars. They spread apart after they were out of the har- bour and each one headed for the part of the ocean where he hoped to find fish. The old man knew he was going far out and he left the smell of land behind and rowed into the clean early mom- ing smell of the ocean. (SOUND OUT) In the dark the old man could feel the morning coming and as he rowed he heard the trembling sound as flying fish left the water and the hissing that their stiff set wings made as they soared away in the VIDEO EMBED»: DIZ TO SILIIOUETTE OF OLD MAN ROWII‘IG mu: PUTS LDIES om SIDE OF BOAT OLD I'I'IAI‘I: BO AUDl'O darkness. He was very fond of flying fish. 13th he was sorry for the birds, eSpeciallY the mall delicate dark terns that were always f Lung; and looking and almost never finding, and he thought, the birds have a harder life than we do except for the robber birds and the heavy strong ones. As it started to be light, the old man saw he was already fur- ther out than he had hoped to be at this hour. He said: Today I'll work out where the schools of bonita and albacore are and maybe there'll be a big one with them. Only I have no luck am more. But who knows? l—Iaybe today. Before it was really light, the old man had his baits out and was drifting with the current. The old man drifted for several V IDISO 31 AUDIO 4MBI3R: hours and when the sun was hot MAN REACIIES OUT FOR LIIE...HOIDS IT PAIITOI-EE'IE ACTION AS SUGGESTED IN THE SCRIPT MAN LOOKS OVER ENE OF BOAT, DOWN INTO WATER UNIEASIES LIME FROM STICK he saw one of his lines dip sharply. He reached out for the line and held it softly between the thumb and forefinger of his right hand. He held the line lightly and felt no strain nor weight. Then it came again. This time it was a tentative pull, not solid nor heavy. And he knew exaactlg,r what it was. One hundred fathoms down a marlin was eating the sardines that covered the paint where the hand-forged hook projected from the head of the small tuna. The old man held the line delicately, and softly, with his left hand, unleased it fram the stick. Now he could let it run through his fingers without the fish feeling arv tension. OLD MAN:God help him to take the bait. READER: He was gone and the old man felt nothing, 0 VIDEO I‘iAI‘J: RDR: MAN : RDR: OLD MAN PANTObfll’LES ACTION AS READER REEATES STORE CUT TO SKETCH OF BIG MARLIN MAN : 32 AUDIO He can't have gone. He's maldng a turn. I-hybe he '3 been hooked before and he remembers. Then the old man felt the gentle touch on the line and he was happy. It was only his turn. He'll take the bait. The old man was happy feeling the gentle pulling and then he felt something hard and unbelievably heavy. It was the weight of the fish as he took the bait "and he let the line slip down, unx'olling the first of the two reserve coils. As it went down, slipping lightly through the old man's fingers, he could still feel the great weight, though the pressure of his thumb and finger were almost impercep- tible. Mutt a fish! (MUSIC: UP TIBET COIJTIIWE UNDER) VlDEO DIZ TO Iv‘iCU OF gamma CUT TO SIHEUETTE OF MAN HOLDING LINE AS HE PANTOIEU’IES DRIFTING IN BOAT CUT TO SKETCH OF HUGE I'IARLIN 1.3.me INTO AIR LIDR: HAN : RDR: AUDIO All that night the great fish pulled the man and his skiff out into the sea. I wish the boy was here, he thought, and settled himself against the rounded planks of the bow. He could feel the strength of the great fish through the line he held across his shoulders. After awhile the man said: Fish, I'll stay with you until I'm dead. He '11 stay with 1113 too, I sup- pose, the old man thought, and he waited for it to be light. (MUSIC: seems DJTO SOUND OF WATER LAL‘PIIIG AGAINST BOAT. CONTINUE mmER.) When the fish fixnlly came to the surface, the old man saw that his head and back were dark purple and in the sun the stripes on his sides showed wide and a light lavender. His sword was as long as a baseball bat and VIDEO RDR: FLIP CARD TO SI'LETCI-I OF I-i/L‘ziLIII DIV INC ll-Tl‘O ‘vJATFR--I[EAD SUBI’IERGED I-lAI~I: DIZ TO I'ICU' OF RalADER RDR: CUT TO SI LHOUETTE OF OLD MAN I-IAI’: 31L AUDIO tapered like a rapier and he rose his full length from the water and then re-entered it smoothly, like a diver. rIhe old man saw the scythe-blade of his tail go under and the line raced out. (some OUT) The fish is two feet longer than the skiff J (MUSIC IN AND CONTINUE UNDER) The old nan had seen many great fish. He'd seen Harv that weighed more than a thousand pounds and he 'd caught two of that size in his life, but never alone. Now alone, and out of sight of land, he was fast to the biggest fish he 'd ever seen and bigger than he 'd ever heard of. I wonder why the fish jumped. He jumped almost as though he wanted to show me how big he was. I know now, anyway. I wish I MAN : OLD MAN SHOWS (HOLDS UP) CIW"L'PED HAND DIZ TO IvICU OF READER RDR: CUT TO SKETCH OF I'IARLDI 1m I?- INTO AIR AUDIO could Show him what sort of man I am. But then he 'd see my hand that's cramping from the strain of the line. Let him think I'mmore ofamanthanI am and Pubs so. I wish I was the fish, with everything he has against only my will and my intelligence. (MUSIC UP BMEFIZX’ THEN UNDER) The old nan braved the test of endurance for a whole day. (SEC-U3 MUSIC INTO IAPPDIC OF WATER AND comm mean) That night the old man tried to sleep for he was tired and needed strength. But suddenly he was awakened by the fish who jumped high into the air, . a great bursting of the ocean and then a heavsr fall. Then he jumped again and again and the boat was going fast although line was still racing it to VIDEO RDR: CUT TO SIM-IOUSTTED OLD I-lAI‘I I-L’U‘J: HAN STANDS UP WORKING WITH LIIE lDR: CUT TO SKETCH OF I'PIARLII‘J Still-EDIE ON ITS SIDE CUT TO SIMOUETI'E OF OLD MAN PAI‘ITOMID'CENG HARP OONING OF FISH CUT TO SKETCH OF MARLIN IN AIR WITH HARPOON IN ITS SIDE AUDIO breaking point again and again. Fish, you're killing me. But you have a right to. Never have I seen a greater or more noble thing than you. (SEGUE LAPPING HATER INTO MUSIC THIGH CONTINUES Ul'IDEll GMDUALII BUILDllIG AS STOIEI CLII-IAXES) The old man took all his pain and what was left of his strength and his long gone pride and put it against the fish '3 agony. The fish swam gently on.his side and started to pass the boat. The old man dropped his line, put his foot on it, and lifted the harpoon as high as he could and drove it down with all his strength into the fiSh's side. He felt the iron go in and he leaned on it and drove it fur- ther and then pushed all his weight after it. Then the fish came alive, with his death in him, and rose high out of the VIDEO DIZ TO l-iCU OF lfllDER DIZ TO SEE}! OF DEAD MARLIN .L- {DR : 37 AUDIO I-rater, showing; all his great length and width, and all his power and beauty. He seemed to ham in the air above the old man in the skiff. Then he (MUSIC BUILDS) fell into the water with a crash that sent Spray over the old man and over all the skiff. (MUSIC: 323m ,, SOFT-TYPE. UP BRIEFLY mm: Comm-ms UNDER) The old man felt faint and sick and he couldn't see well. But he cleared the harpoon line and let it run slowly through his raw hands and, when he could see, he saw the fish was on his back with his silver belly up. The shaft of the harpoon was pro- jecting at an angle from the fish's shoulder and the sea was discoloring with the red of the blood from his heart. The fish was silvery and still and floated with the waves. vmo DIZ TO FILM CLIP OF ROLLING OCEAN -- FISH JUII’II-IG INTO TIE AIR SUTER I-ICU OF iEQDER OVER F ILI-I :IDR: CLIP OF ROLLING OCEKN, FISH JUI'IPII‘JG DJTO TIE All CUT TO CU OF BOOK, TIE 01D rm FILTEIUED AND TILE SEA VOICE: DIZ TO SHOULDER SHOT OF IE‘ADER RDR: r‘ 3U 1U} DID (MUSIC '0? BRIEFLY MID SLOWLY OUT) Yes, the old man made his catch. But the story doesn't end here. You'll want to read about the old man's struggle to get the 1500 pound marlin back to shore; his heroic fight with the sharks; his courage-amen the odds were all against him. And when you've finished reading the last thrill- ing page of THE OLD MAN AND TILE SEA you '11 understand the pub- lisher ts comentary : (he cannot hepe to explain why the reading of this book was so profound an eXperience. You heard part of the stor -- It's simple, but in its simplicity it '3 great. When you We read the book, you'll admire the old man and say with the boy: VIDEO CUT TO DITERIOR OF SHADE]. i'IS H- 301': IIIG CABIN. OLD l-IAl‘I IS L1 III L‘ACE DO ARI OI: FLOOR, Im/ToPAPERS UNDER HIS IEAD FOR PILLOW. 1301’ IS In EELDIG BESIDE HIM, HIS HAND OII OLD MAN'S BACK. 1’ SPEAKS TO CAI-EIL’I DIZ TO CU BOOK, TIP. OLD MAN 1L3) ANN: JP:_.:A OPEN BOOK AND PLACE KEY ON IT SUPEI OPEN BOOK OVER SLIDE: THE MAGIC KEY SUPER OVER BOOK AND KEY: SLIDE: THE OLD MAN AND THE SEA by ERI‘EST IEI‘EIEWAY SUPER SLIDE: THE DIARY OF A YOUNG GIRL by ANNE FRANK SUPER SLIDE: THE MAGIC KEY 39 AUDIO There are many good fiShCl‘l’lCIIl and some great ones. But there is none as great as the old man. \ I (.1 (I-HJSIC: EDIE UZ‘...T‘:LZJl-15 TO Li.’ . Mimi-TV, in coolveration with the Iiichiggan State Library, has brought you the first in the series, Tee I'hgic Key. Today' S program featured, TIE OLD MAN AND ‘EE SEA, by Ernest Hendngtm. We 've shown you scans of the power of this book and now we invite Jou to visit your li- brar;r for a cepy of TIA. OLD ILL! A“ TDl HS SEA. Your librarian will be glad to help you select simi- lar books which are both informa- tive and interesting. BC with us again next week when Anne Frarflc's T2173 DIARI OF A IOUNG GIRL will be featured on The Liagic Key. This program VIDEO SUPER SLIDES GIVING Ole-"I AND PRODUCTION CREDITS In L 111. I; f) AUDIO was produced and directed by Featured in the cast were .9 as the story teller; A ’ the old man; J the bWo Voice was . Your announcer has been (MUSIC: TIEI-E UP FULL AND OUT) PRODUCTION SUGGEST IOI IS FOR TIE PROGRAI-I TIE DIARY OF A YOUNG GIRL This program could be produced easily with two cameras and offers no production problems other than, possibly, a rather large cast. Only one set, plus a limbo, is used, and there are no unusual costume requircments. The program could be worked out in dry rehearsals, with one hour of on- camera rehearsal to check shots and perfect the production. Careful cast- ing, of course, is required in order to make the characterization of each role as convincing as possible. .‘.'..., Set requirements for THE DIARY OF A YOUNG GIRL would be comparatively simple. For the limbo shot of Anne writing in her diary, a small table in front of a plain wall or drapes could be used. {me other set requires simple living room furniture -- a divan, table, and chairs, with added preperties to make the house appear "lived in. " The cast includes: Anne - A girl thirteen years old, with dark hair, intelligent eyes, and slender frame Mr. Frank - A kindly-looking man about fifty, with dark graying hair, husky build Hrs. Frank - An attractive women about forty, with dark brown hair and eyes I-Rrgot - Sixteen years old, pretty, dark hair and eyes, medium height I-k‘. Van Daan - large-boned, balding, middle-aged Mrs. Van Dean - Heavy set but mall-controlled figure, flir- tatious, irritating voice ‘7 L}; Peter - sixteen years old, tall and slender, crew cut, game; KOOphuis - A short, pleasant man about forty years old The size of the east might offer a problem from the standpoint of getting eight persons together for rehearsals. Since the entire program is divided into sequences, all of the cast would not have to be present at the same time and only those needed to rehearse a particular sequence could be called rather than having the entire cast present for each rehearsal. Anne Bank, with her diary, furnishes the continuity throughout. In order for her to appear in a scene immediately following the writing in her diary, it is necessary to use Anne's tape recorded voice and a close up of someone else '3 hand writing in the diary. The tape can be played in the control room supplying the audio while the video is produced in the studio on the limbo set. Clothes of the cast should be very plain, reflecting the difficult circumstances of the group. PRODUCTION SCRlTT FOR TI LL. DIARY OF A YOUNG GIRL VIDEO CU OF BOOK: TIE DIARY OF A YOUNG GIRL OPEN BOOK AND PLACE KEY IN CENTER ANN: OF IT DIZ TO SLIDE OF HAWAIIAN SETTDIG LII-{BO : LAP TO SLIDE: PATH IEADDIG TOWARD HEAVENLI LIGHT DIZ TO MCU 0F ATTRACTIVE GIRL mun BOOK. GIRL LOOKS UP, amss, AND BECKONS AUDIENCE TOWARD BOOK DIZ TO-- SUPER SLIDE: THE MAGIC KEY OVER CU 0F BOOK AND KEY SUPER SLIDE: MICHIGAN STATE LIBRARY LOOSE SLIDE. SLowLI Ran-10m KEY, CLOSE BOOK, CHEAT BOOK TO CAIERA FORGUOFCOVER: THEDIARYOFA *w—fl YOUNG GIRL 143 AUDIO Books are keys to wisdom's treasure Books are gates to lands of pleasure Books are paths that upward lead Books are friends. Come --- Let's read. (MUSIC: THEME UP BRWLY TIEN TO BC) The Magic KeyJ -- A program featur- ing books you 'll want to read. his series of programs is pre- sented in c00peration with the Ifichigan State library and fea- tures timely new books as they became available to the public. Today, we 're presenting a re- markable book written by a young girl forced into hiding by the Nazi '6 during World War II. 2113 book: THE DIARY OF A YOUR} 611E, written by Anne 1?me The sett- ing of this story is in Holland. Ml VIDEO AUDIO ANN: The time: l9h2 -- when Hitler was ruthlessly raging two wars...One against the allies and the other, perhaps even more heartless, against the Jews. And now, the story of THE DIARY OF A YOUNG GIRL. DIZ To BLACK (MUSIC: UP um: OUT) DIZ TO MS OF MEN OR FOUR- ANNE: It's an odd idea for someone like TEEN YEAR OLD GlRL SITTING AT SMALL TABLE WITH PENCIL IN me to keep a diary, because it seems HAND AND DIARY ON TABIE. GIRL TALKS ‘I‘O CAMERA MiEN SHE IS to me that neither I -- nor for that NOT WRITING matter amrone else «will be in- terested in the thoughts and ad- ventures of a thirteen-year-old ‘ school girl. Still, I want to write, but more than that, I want to bring out all kinds of things I that lie buried deep in my heart. I want this (nary to be my friend and I shall call my friend Kitty. PICKS UP DIARY, HOLDS IT wITH . . ' BOTH mums NEXT To HER CHEST I hope I'll be able to confide in you completely, as I've never been able to do in anyone before, and I hope you 'll be a great comfort to me. VIDEO :8 Aims PLACES DIARI ON DESK, ANT : opens IT, STARTS WRITING. SHE msADs ALOUD AS SHE mmss CUT TO OS-CU OF DIARY AS ANNE WRITES (FIIEERED) CUT TO INSET-CU OF MR. MR. FRANK: FRANK SUPERED OVER UPPER RIGHT-HAND CORNER OF PICTURE 1L5 AUDIO Wednesday, July 8, l9h2 Dear Kitty, So much has happened in the last few dais, I hardly know where to begin telling you about it all. But I'd better begin at the be- ginning so you'll understand why we're all in hiding now. A few days ago, daddy began to talk of us going into hiding. I asloed him why on earth he was be- giming to talk of that. He said, You know, Anne, that we've been taking food, clothes, and fur- niture to other people for more than a year new. We don't want our belongings to be seized by the Germans, but we certainly don't want to fall into their clutches ourselves. So we shall disappear of our own accord and not wait until they come and takeusawey. VIDEO CUT TO I-ICU OF ANN I'EIETEIG MEIER: DIZ TO FILM CLIP DEPICTIIIG LIFE IN A CONCEI‘I‘I‘RATIOI‘I CAMP SUPER SI'IALL INSET CU OF UR. (FETEIED) FEWIK OVER RIGHT HAND COIN-YER 1'31. FRANK: 0F FRAME DIZ 'I‘O l-fiCU OF AIE‘E WRITER IN ATE-FE: DIARY us AUDIO Then last Limdzv I'e'hrgot (that 's 17V sister) told me that the secret service had sent a callaup notice for her. Everyone knows what a call-up means. You can imagine how unhappy we all were when we thought of I-hrgot -- only six- teen -- being taken.away to a concentration camp. And no tell- ing what might happen.after that. Then sooner or later they'd come after the rest of’us and we'd all be doomed. No wonder daddy told me last week: Anne, make the most of your care- free young life while you can. When we decided to leave in a hurry, a girl who works for daddy came and took a satchel full of clothes away for us. When we left early the next morning for our secret hiding place we all wore layers of clothes -- even though the weather was so hot 1!! VIDEO AUDIO l A1333: we could scarcely stand it. 120 Jew in our situation would have dared to go out with a suitcase full of clothing. We I-ralked in the pouring ran, Daddy, liumrrf, I“ Margot, and I, each with a school satchel and a shopping bag filled to the brim with all binds of things thrown together. I didn't ..M know until we were on the road that our secret hiding place would be in the bm’fldimg where Daddy has his office. Here's how the building looks inside: SHOW CU'S "I" PARTS OF TEE HOUSE There 's a large warehouse on UN LARGE SKETCH AS I'd-3E DESCRIBES TEEEE-I the ground floor which is used as a store. The front door to the house is next to the ware- house door, and inside the front door is a second doorway which leads to a staircase (A). There's another door at the top of the stairs which has "Office" written in black letters across it. V IDE 0 M AT "C “(M “Ill III” [III lllllllll llllllllllllllllllul I“ I‘ll" llullllllllllllflil 3"FLOOR lefilIO 'mat 's dadcbt's main office. A wooden staircase leads from the downs tails passage to the next floor (B). Here's the door (P0111315 fix. DRAWING) that leads to our "Secret Armezoe." 110 one would ever guess that there would be so Irmv rooms hidden behind that plain gray door. There's - a little step in front of the door and then you're inside. 'lhis is the headquarters of the Frank family. man on the next floor there's a big light room which is now the kitchen for the Van Dean couple, (I'll tell you more about them later) besides being the general living roan, dining room, and scullexv. A tiny little cor- ridor room will become Peter Van Dean's room. Then, just as on the lower landing, there's a CU OF TO IiCU OF U SITT \ CU UL T1 | VIDEO CAIEIUJAI‘ -- “AGES FL II PING BY TI-IEI'I STOPPING ON JULY ll. DIV. IZ TO GROUP ‘9 , VY'1 11011114513. ANNE ERIE IIIG IN DI ARI ABE-IE: d; [01‘ OF KAI-ELY Iii FAST DOLLY IN TO 3:9 AUDIO 10.11 ;c attic. s'o there you are, I've introduced you to the whole of our beautiful "Secret Unix-":0. ('J Iours, Ann (170.510 UP 1311:3191. rm: our) Saturday, July 11, 19342 Dear Kitty, We finally got the "Secret .hmexe" in order and our things unpacked. I don't think I'll feel really at home in this house, but that doesn't mean I don't like it here, it's more like being on vacation in a very peculiar board- house. rIhe Van Deans arrived yester- day. We didn't expect them until tomorrow, but the Germans were calling up people right and left so they played for safety, better a day too early then a day too late. And now our ”Secret An- nexe" family is couplets. There's l-MTEJ’. dhe's eleven ' nu: TO CU or In. FRANK (WHILE AID-L3 Is ran-me ABOUT EACH LEADER OF mam, swaths SHOULD 133 Minna, TALKING, on JUST ms- name -- IGNOREJG au-ERA AS IF IT were SD-ILI LOOKED IN ON THE GROUP) PAH IO CU OF I'LULGOT CUT TO TIME—SHOP OF VAN DAAN FAIVEY PAN TO CU OF l‘vde. VAN DAAN AUDIO years younger than daddy. 310's sweet but treats me like a baby, which I don't like. Daddy is "If favorite. I call him Pin. I don't know what I would have done without him these last few weeks when everything was so upset. I've mentioned my sister, I-hrgot, before. She's sixteen and is in- telligent, quiet and always a lady. It isn't hard to see why mummy likes her better than she does me. We were glad when the Van Dean family arrived because they told us all the news from the outside. I like Mr. Van Daan best although we usually manage to upset each other. It's just the Opposite with I—Iargot whom he likes very much. Itrs. Van Dean is the one I can scarcely bear. She's alt-rays ’1 51 VIDEO AUDIO A3313: COhlpL’li'Llng and tries to start a quarrel with even/bout. file '5 already mabearableJ JAN TO CU Oi" PETER VAN DAAN HOLDING Peter is the amusing one, although HIS CAT ON ZIIS LA? I really should feel sorry for him, with such frightful parents. He's going on sixteen and is 311:]. I'm afraid he's as lazy as his mother. He flaps on his DOLLY BACK TO GROUP SHOT bed half the time as if he's always worn out . Peter brought I-‘Iouchi, his cat along with him. DIZ TO I-ICU OF Alli-If MIITIIM IN DIARY ‘Ihat '8 who lives in the "Secret Armexe. " Now, till next tim -- CUT TO CU OS SHOT OF SIGI-IATURE "fours, Anne DIZ I‘D—- CU OF PAGES FLIPPllIG BY ON mam-Int (MUSIC UP BRIEFLY THEl-I OUT) DIZ TO CU or mum WRI‘L‘IUG IN DIARY (TAPE RECORDING OF AIIIE'S VOICE) lhursday, October 1, 19242 Dear ~Kitty, It gets awfully depressing staying inside day in and day out but now and then something happens to brighten up the "Secret Annexe." Yesterday I found out VIDEO AUDIO I‘d-TIE: that when Ifeter comes out of his shall he can be quite funnr. Ho and I have one thing in common: we both love dressing up. Yes- terday (FADE OU‘L‘ AUDIO) -- DEFOCUS CAHEEA. FOCUS UP ON LIVING (BRING IN APPROPRIATE IIUO‘IC FOR lOOI-I SET. GROUP SHOT. PETER IS STILE SHON AND CUIITDNJE UNDER) WEARING DRESS WIN-I VERY TIGHT SKIRT AND A LADI 'S HAT. ANNE IS WEARING A BOY'S SUIT AND CAP. THE Two ENTER NODEIIIK} CLOTHES AS IN A STYLE SHOW. TIEY TURN GHACEFULII, PAEADE ALL AROUND TIE ROOM, THEN Ame TAKES OFF HAT, JOINS PETER'S ARM, AND TTTET Bow TOGETI—IER. REST OF Emma LAUGH AND CLAP, THEN NR. FRANK SAYS "SH..." AND THEY ALL SUDDENLY STOP, ENTERING THEY ARE IN HIDING AND MUST BE QUIET. DEFOCUS CAI'ERA AND COME OUT IN FOCUS ON ANNE FINISHING THE NOTATION FOR THE DAT IN HER DIARY. CU OF HAND NRITDIG IN DIARY (FADE IN AUDIO--TAPE PECOADDIG OF ANIIE'S VOICE) Afterwards we didn't dare say a word for half an hour for fear someone had heard all the noise. Yours, Anne DIZ TO CU OF PAGES FLIPPll-IG BY (MUSIC UP BRIEFLY THEN OUT) ON CALEI‘IIMR t: IZ TO CUTE SHOT --DUILJI IN TO YOU ‘ D—J DIZ TO FILM CLIP SHOWING I'IISTREAT- I'I'JHT OF JEWS BY NAZIS AUDIO Friday, ‘ tober 9, 19112 Dear Kitty, I only have dismal arfl de- pressing news for you today. Mr. Keephuis, who works in daddy's warehouse, told us this morning about our many Jewish friends who are being taken away by the dozen. These people are treated by the Gestapo without a shred of decency, being loaded into cattle trucks and sent to T«Jester- bork, the big Jewish camp in Drente. Westerborlc sounds terrible: only one washing cubicle for a hundred people and not nearly enough lava- tor'ies. l-bn, women, and children all sleep together. It 's impos- sible to escape; most of the pe0ple in the cam} are branded as imnates by their shaven heads and many also by their Jewish appear- ance. If it's as bad as this in Holland, whatever will it be like VIDEO AUDIO MUTE: in the distant and barbarous regions they are sent to? we assume that most of them are murdered. The mblish radio speaks of their being gassed. DIZ T" MCU OF MINE Perhaps that 's the quickest way AIDE RUBS HAND ACROSS FORE- to die. I feel terribly upset. HEAD AS IF SHE IS DISTRAUGHT ‘ I couldn't tear myself may while Koophius told these dreadi‘tfl. stories. He told us about hostages too. That's the latest thing in penal- ties for sabotage. Can you imagine anything so dreadful? Prominent citizens -- innocent people -- are thrown into prison to await their fate. If the saboteur can't be traced, the Gestapo simply put about five hostages against the wall. Announcements of their deaths appear in the papers fre- quently but they're described as "fatal accidents. " Yours, Anne DIZ- TO CU OF PAGES FLIPPING 31' ON (I-IUSIC UP BRIEFLY TEEN OUT) GALSNDAR VIDEO AUDIO DIZ TO I-‘ICU OF Aim AISLE: Tuesday, October 2'), 1922 Dear Z'Citty, I-E/ hand still. shakes, although it's two hours since we had the shock. I should ezqvlain that there are five fire extinguishers in the house. We knew that someone was coming to fill them, but no one had warned us when the car- penter, or whatever you call him, was coming. She result was that we weren't making any attempt to keep quiet, until we heard the hamme ring; outside on the landim Opposite (AUDIO FADE. OUT) our cupboard door. CAI-ERA DEFOCUSES. COMES OUT FOCUSED ON LIVING ROG“! SET. FAMILY IS SITTING AROUND READING AND VISITII-Ji}. A IECORD IS PLAYING ON TIDE RECORD PLAYER. SUD- DE'NLY A KNOCK IS IEARD AT THE DOOR. EVERYOIE STOPS TALKII-IG AND GASI‘S. DADDY TIP T038 TO DOOR ALE) LISTENS, SO HE CAN HEAR ' IIAT IS HAPPEN ' JG BELOW. iWEE-ERIIEG COI‘ITDJUES. SUDDEI‘ILY IT'S QUIST, THEN THERE'S A KNOCK AT THE DOOR. EVL'IRIOIE LOOKS AT EACII OTI-ESR PETRIFIED AND DOES 'T MOVE. THEN TIE KNOCKING, PULLIII}, ETC... NOISES ARE HEARD AGAIN. FBIALL‘I TIIE GROUP HEARS: IVER. KOOPHIUS: Open the door, it's only me. i ___._r_____...._— VIDEO 23 ERIOIE LOOKS .BLISVED AND HE. F ”LATHE GOES TO TEE DOOR AND OPENS I!“ 1. SHOW MCU OF KOOPHUIS THEN RE- ACTION SIIOTS OF RELIEF OF AN- NEKE OCCUPANTS AFTER KNOWING WHO WAS I-IAKING THE NOISE DEFOCUS CAMERA. FOCUS UP ON AI‘II‘lE WRITIIG IN DIARY. IICU OF ANT-1E DIZ TO CU OF PAGES FLIPPII-J'G BY ON CALENDAR. ,J/ ‘20 AUDIO In. mum: (SOFTLI) Fou surely had us f :~rorried, hosphuis. KOOPHUIS: I'd better explain all the noise. ANNE : after the carpenter left, the hook that holds the cupboard leading to the "Secret Annexe " jammed. I was fixing it. The carpenter's gone, and it's only Keephuis, so now, good people, smile: Seeing Koophuis was a great relief to me, I can tell you. D1 my ima- gination the man I thought was try— ing to get in had been growing and growing in size until in the end he appeared to be a giant and the greatest fascist that ever walked the earth. Tours, Anne (MUSIC UP BRIEFLY TEEN OUT) VIDEO DIZ TO CU OF I‘LU‘IJJ ERITIIIG M1353: IN DIARY DEFOCUS GIN-ERA. COI'IE OUT F OCUSED ON LIVING ROOM SET. IIARGOT IS SITTING ON DIVAN IEBADIIU BOOK. AI‘TNE IS IN CHAD. WRITING. AFTER A SHORT TEE l’iARGOT PUTS BOOK DOWN, GETS UP AND GOES OUT OF ROOM. AME LOOKS OVER AT BOOK, GETS UP, GOES TO DIVAN AND STARTS LOOKING AT PICTURES IN BOOK. SOON I-IARGOT COIL-ES BACK, SEES AI‘HIE WITH HER BOOK AND SA'S: ANNE IGNORES HER AND GOES ON LOOKING AT PICTURES Tr??- .‘ '¥.CV.JO CU mace? l-IARGOT : IDLE-OT: AUDIO (TAPES ELECOEEJED VOICE.) Saturday, I'Ioverrlber 7, 19h? Dear Kitty, Henry is frightmlIY irritable and that always seems to herald un- .L pleasantness for me. Is it just chance that Daddy and 1an never rebuke I‘hrgot and that they always drOp on me for even/thing? (FADE OUT AUDIO) Yesterday evening, for instance : Amie, give me my book. (mznor GOES OVER NEXT TO gum) That's my book, Anne, give it to no. (NOT .T.OOE{.”‘JI(} III ) Urflmrt. Just let me look at some more of these pie- tures. (mun-.12 in) 2:04:13 Enlarger? IDLE) I was read-ing that book. Give it back to me right now. C ' r1vy'1-> j . I I .'--'.L 1 [MIL I‘IAIJ‘CS .LI FTC PICTUL-s DADDY NI\.LI:{S INTO PICTUIE ”in A ‘ r 11)" '1 ,j- Inna). 1.5.1... . I III. FRAI 3K : am; LAYS BOOK D‘ III.T DISGU ST3DLY AND L3AVSS ROOII. AND FOCUS UP AGAIN ON SET IS WRIT III} III DIARY DIZ TO CU OF PAGES FLIPPlI‘IG BY ON CALENDAR DIZ TO IICU OF ANI‘IE WRITING DIZ TO LIVING ROOI—SI "ET DEFOCUS CAI‘EIIA AJW HIE AI‘II'JE : _) 0 AI? IIIO -‘JL‘ ‘10 0 Give the hook to Zargot, .310 'l :3 5 reading; it. (gums lemmas) I'd like to see what you'd sag,r if I-Iargjot ever started looking at one of your books, Anne. It wasn't right for Daddy to judge x-zithout Iaiox-Jin; what 131 e Squa‘sble was about. I would have given Margot the book nys elf, and much more quickly, if I-hmnry and Daddy hadn't interfered. I'fitty, I've just about reached the bursting point. Yours, Anne (I'IUSIC UP BRIEFLY AND OUI‘) *‘riday, July 23, 191:3 Dear Kitty, going to tell Just for fun I'm you each person's first wish when 1 we 're allowed to go outside again. (FADE CUT AUDIO) Larger, and Ir. VanDaanu VIJJO AUDIO IICU OF MARCO? AND 1-111. VALT 11AM! l-IAJIGOT: More than amrtl'rmg in the world I'd like to have a hot bath, with the tub filled to the top, and -- III. VAN DAAN: And to soak in it for at least a half hour! I‘Eothim; could be better. CU I-Iii’S VAN DAAN IRS. VAN DAM-I: Clhe minute we get out of hiding I want to go and by a supply of cream cakes, then eat them Itil I'm stuffedJ CU 11113 1111111111 1-1115. Hum: Just give me a cup of coffee and I'll be happy. CU I-IR FRANK I—IR. FILUIII: The first tm I'd like to do is visit poor old Mr. Vossen in the hOSpitaI. CU OF PETER PETER: I'd like to go to the cinema. DIZ TO '~‘IIOLLD3R SHOT OF ANNE ANNE: And I should find it so blissful to be free again, I wouldn't know where to start) But most of all, I long for a home of our own, to be able to move freely, and to, believe it or not, be able to go to school again. It '5 hard to build up my hegies with the world V IDEO AI‘I 153 : LIGHT CUE: BRIGHT LIGHT Fl OIL ABOVE THEN SLIDE OF CLOUDS DIZ TO (:1 01 BOOK, THE DIARY OF 111111: I"YOUN§"5IRE OPEN BOOK AND PLACE KEY ON IT. SUPER BOOK AND KEY OVER SLIDE: THE MAGIC KEY SUIER BOOK AND KEY OVER SLIDE: TIE DIARY OF A YOUNG GIRL By AI‘II‘IE FRANK SUPER SLIDE TIL- MERICAN RECORD IN THE FAR EASI, I91__1__S-I9‘SI, Ev K'fin‘tfi" b. wléfimettem- AUDIO so full of confusion, misery, and death. But in Spite of it all, if I look up into the heavens, I think that it will all come out right, that this cruelty will end, and that peace will return again. (l-IUSIC UP TEEN TO DO) I-JKAR-‘I‘V, in c00peration with the Ifichigan State library, has brought you another program in the series, The Ihgic Key. Today's program featured, THE DIARY OF A YOUNG GIRL, by Anne Frank. We 've given you some of the tl'loughts and impressions of a young girl living under extraordinary conditions and now we invite you to share with us the rewarding eprrience of rem-15.1 3 this book. Your librarian will be glad to assist you in selecting similar books which are both in- formative and interesting. 138 with us again next week when TIE MERICAN RECORD 1N TIE FAR (31 VIDEO AUDIO AUX: EAJT, covering the vital period from 1915 to 1951 will be pre- sented on The Magic Key. SUPER SLIDES GIVING CAST AND Ibis program was produced and PRODL'CTIOI‘I CREDITS directed by . Featured in the cast were JasAnne; I'Ir'. Fremk; , I’h‘So Walk; ’ I‘hrgOt; Peter Van Dean; A) I’h‘So Van Ihan; 9 Mr. Van Dian; , i-tr. Keephius. This is Spealdng. (I-TLISIC UP 1 ID OUT) PRODUCTION SUGGESTIONS . FOR TEENS PROGRAM-1 hm MERICAI‘I RECORD IN ME rm uAuI‘, 1926-1951 No particular production problems are found in the script for THE AMERICAN RECORD IN THE FAR EAST, l9h5-195l. The format is a discussion, supplemented.by pertinent film.clips. three and titles of discussion members re fictitious and serve only as suggestions for areas from which to draw discussion.members. Undoubtedly, if this show were produced, a complete script would not be used. Rather, the moderator would.have a list of leading questions to guide the members of his panel in their discussion. Thorough.preparation.always aids in a finer production, however, and a complete script is rarely a disadvantage. Since this is a discussion-type program, it would require very little rehearsal time. A dry rehearsal would be adrisable, although not imperar tive. In the studio, the lead-in to the discussion should sound spontane- ous, with the members of the group appearing relaxed, as if’they are thoroughly enjoying their session, as they had enjoyed reading the book they are discuss- ing. This is a two-camera show and should not require any more than a half hour of camera rehearsal. The film.clips called for in the script are available in.the WEAR-TV Film Department, along with accomparying cepy describing the film. There has been much conjecture concerning the most suitable arrange- ment for panels and discussion groups appearing on television. WEAR-TV produced a trial kinescope recording in the Spring of 1953 showing all’ 63 possible arrangements. For a discussion group consisting of three members as in the accompanying program, the following arrangement is considered most desirable: MODERATOR [‘5' fl 6 - - a I . Org, (33 I PRODUCTION SCRII‘T FCII TEL: AI-LTRICAII RECORD IN TIL: FAR EAST, 1915-1951 VIDEO LII/U30 -- CU OF BOOK OPEN BOOK MID PIL‘LCE 1951' HI CEI‘ITER ANN: OF IT DIZ TO SLIDE OF IIAWAIIAI‘I SETTING PATH LEADING TOWARD Hmvmm LIGHT DIZ TO MCU OF ATTRACTIVE GIRL mun-JG BOOK. GIRL LOOKS UP, SI-EIIES Am) BECK- OHS AUDIENCE TOWARD BOOK. DIZ TO BLACK MOMTNTLTI LI, THEN-- DIZ TO SLIDE: THE MAGIC KIT surzmn 013m: CU OF BOOK mm KEY SLIDE : SUPER SLIDE: I-IICIIIGAN STATE LIBRARY LOOSE SLIDE. SLOWLI REJ-iOVE KEY, CLOSE COVER OF LOOK, CHEAT BOOK TO GAIUM FOR CU OF COVTR: THE Al-ERICAN RECORD IN TH: ma EAST, 171W "" AUDIO (MUSIC: TIUBIIE U1“...'£‘2i.ll'fl3 TO BG) Books are keys to wisdom's treasure Books are gates to lands of pleasure Books are paths that upward lead Books are friends. Come --- Let's read. The Magic Key} -- A program featuring books you'll want to read. This series of programs is presented in COOpera'tion I-zith the Lichigan State Library and features timely new books as they become available to the public. Today, we 're presenting a book which outlines and interprets the record of United States policies in the Ear East since l9h5, written'hy Kenneth S. La- tourette. VIDEO DIZ TO FILE-T CLIP 3: {Calm mm 13.: KORE-11, CROWDJD LIX/ILA} CJT.DI_L_L TT‘ III C: IIJI,J1\IL‘IIT,1£U:D IIILJLI.’ .L‘ IL)? I- III: II. ‘DUOI. 1.1.33.1. IJAT ILIJ, 3T0. . 0, T0 GII' A CLI’LT LICJ. ' J7 IL" IN THE 17:13.17. JLS 3'3 1:13.133 'Jl‘ T1I1 I‘l \- EASI LC; L‘J DIZ TO CU OF NEWSPAPER I-IEADLBES: "JAPANESE SIGN lLAC ‘3’“Y, " "NATIOILLLIST CHINA CAPITUIATES "ATERIQUT TROOPS COIHIII‘TED FOR,x KOREAN AID." SUPER LARGE QUES- TION 1.111121; CV’T‘ US$141? R II: SLID- LIITES DIZ TO CU OF MAP OF ASIA ON 7GIALL IULL BACK Tea I-ICU OF WILSOI: W IL (WA? LJU: I. (1117;) TC: TEXT: I111 231:: LH‘ T AUU I T.) I \rx-vv" '17“- b-1111; LI: :3 I110 GILT.» C) F.) '7"! T1123, LUE l-IULJIC 111:” 3.3311} III MKIOUIICBR (OFF CJ‘LI'IJRA) '2'.) D3- LJCLLIIjE I. ITTTI 'Y (MUSIC: SUCK, AS EACH 1471.77.47.11211411 IS Tum-m INTO 11C TURE 111mm) (MUSIC I- Cozzmmrr VIII-SO) ORIENTAL MUSIC UP BRIEFIX T113311 OTHER) The Far EastJ To westerners the term seems vague and remote. In Lat oureJ ote Ts book, the phrase "Far East" denotes (TCIIITO 011 In?) the area extending from Japan on the east to Talfistan on the west, and including the main- land of Asia and the adjacent islands . TL'LS area of the world has been the center of a great deal of controversy during the last decade. Tally Maericans have ask ed t 10 ques- tions, "That were the events the. t led V I030 WIIsON HOLDS UP 3001: 30 TITLE ON COVER SHOWS PULL BACK FOR GROUP SITS DOWN BET-J 331$ 01‘ 1813373118 I'CU OF WILSON PAH IEFT F OR I-ICU OI“ CUT 'I‘O I-ICU OI‘ LIIIG PAN TO IICU OF ITIJI IISOII SHOT. wuss-om 113.1 The PANEL 3 ORBETT WIIS ON : :36 AUDIO to the goerl llaz‘boi a t"1c:1: "" ’C‘I‘IU Imre we pulled into the Korean conflict?” ”Does the United States have a consistent Far East foreign policy?" (SLIGHT IAUQE) The need for :1 brief re— view of the course of event.) "ol— lamina World. War II throwh the u “b Korean conflict has been filled by Kenneth Iatourette in his book, "‘IIIE AI-ERICAII I CORD II‘II -I] FAR EAST . (I'IUSIC: SOCK TILBII OUT) We have two experts on Far East affairs in the studio with us tomay to discuss this book. On 17V left is DI“. Emory L. Cor- bett, of the Political Science Department of I-Iiohigan State College, and on 111;] right, Hugh 13. II'Lng, author- ity on oriental culture. I'm John I'Iilson. ' IDEO DOLLI BACK FOR TILL 33-SIIOT CU OF COLEET‘I‘ 'I'I'JO-;5IIOT--I' JILSL “I AI-ID LII-IG WILSO II: 67 AUDIO And now that 11c 're all acquainted, let's talk about ‘I‘ILJ 1.1.LLLIUJ81: L560 11) III ‘III I FILE .3I‘IOT. Dr. Cor- bett, what is your impression of this book? I feel TIL; III-ERICA}! RECORD III 'I‘ILS IA? 3A.}? is a fair and en- tirely objective presentation of the facts about our tar Jastern Poliqy. 1111.311, would you tend to agree with Dr. Corbett? Yes, for anyone really interest— ed in knowing the record, this book offers the solid facts in an unbia .sed, honest way. I think every American citizen would profit from reading BID...) book. hhat about the author, Kenneth Iatourette? Do;you think he's qualified to write on Far Eastern affairs? VIOE CU OF cOROETT CORD sum: own career CU, CLOOE U: OF BOOKS As camera? TALKs: "TIL-3 IIISTOZLI OF 21:: may RELA- TIONS 33mm: TIE Una. AND JAPAN," "TIE 13m: ‘PI-LEI‘IT OF CHINA, " "TILE DEFELOH-ENT OF JAPAN," "TILE HIS- TORI OF T1122 3.41er RELATIONS Be- TIrIssN THE U. s. MID JAPAN, " "THE CHINESE: TI-IEL’Z HISTORY AND CUL- TUREB," "TI-LE IIISTOR‘I OF JAPAN," "A 5::ch HISTORY OF THE FAR EAST, " "TH-II U“). MOVES ACROSS TIE PACIFIC," "M-EMCAII RECORD III TI 3 FAR EAST." CU LIIIG LII-TC: CU COELBETT CORBET’" TIE 7"} SHOT JILBOII C“. CH AUDIO There 's no doubt about tint. Iato:.u‘e‘tte has written several books on the Far East, both historical and political. Latourette has also traveled widely throughout the Far East and spent some time on the faculty of the Jollege of Yale in mina. He has been on the faculty of Yale Universit;r for thirty years and has lectured all over the country r1 on ”Bar eastern affairs. In the preface of the book, latourette mentions that the American Institute of Pacific Relations asked him to write this survey of the American post-war record in the Far East. O9 VIDEO AUDIO GU LIIIG LIIG: 103, the institute offered to place its staff and resources at Iatourette's disposal, and made it possible for him to consult various experts and gain access to important printed materials. I-ICU IIILSOI‘.T WILSON: And the result was this (HOLDS U1" BOOK) accurate, objective ap- praisal of America's record in the Inr East from 1916 to 1951. Dr. Corbett, how did the United States become involved in the Far East in the first place? Those countries are a long way from the continent of North America. FED-“31’. S‘LIO‘E OI" COIBIBTT C Id}. 1.: ”1e involvement of the United a r—4 JIIO Estates in the Far East grew out of the westward drive of the I aerican people. First they migrated to the western part of the United states, then in 1553 Commodore l‘err:~,r took the VIDSO COILBETT: SHOULDER ESE-IO)? OF LIIIC LEI}: THI “‘3- SI-IOT WILSON : CU COIIBETT CORBETT: CU WI LSON WILSON : AUDIO lead in 01;."311ing Japan. ‘I‘he United states occupied the I-Iliuppines in 1898 and a year later the Open Door relic;r was formulated. The potential markets of China and Japan lured Americans toward those countries. In fact, Ameri- cans viewed China as the largest undeveIOped market in the world. h'e've mentioned China and Japan... What about India and Pakistan? The United States traditionally had relatively little contact with prewar India and Ame rican trade and investments in India and Pakistan were slight. v What does ia'toul‘e‘tte say about J" n C' I (‘6 9 ~ ' I :I ’i_ ' (go the success OJ. America s loreibn policyr in Burma, British I-hlnya, rThailand, Indochina, and Indo- nesia? CU LII IG MCU 001-11331"? I-ZCU LII: 3G CU WILSON VIDEO CORBET” : LING: 'n’l iUuIO As far as con] :1 b") judged late in 19:31, the mcord was one of partial frustration, but in the main acI 1ievenent . think it '5 well to mention the criteria for judging aclfievenent. The purpose of the United States was to enable these people to live under {governments of their own choosing which would enable them to advance in freedom, edu- cation, and economic well-being, and to restrain Communism. And progress has been made toward these goals in all of Southeast Asia except Indochina. All right, let's go to another cormtr.)r Iatourette mentions ~- the Philippines -- to when we granted independence in 19h6. Are these islands completely severed from the United States now? VIDEO CU LIIIG CU LING F—Q .—o QIIOULDER STEEL" 0." WILSON SEIOUIDEJi o'IiUT WILSON COILBETT: 1'; 1113 ()1 I 3 AUDIO 110, the Philippine Isla ids are still bound to the U. s'. by econ- omic and military ties, although their iz'uzkzaendcnce is official? complete. And in the line of accomplish- ments, we have improved the educational system, develOped the public health and sanitation facilities, as well as building better roads and stablilizing~ the econwv. Latourette also mentioned the tilinss the United States failed L) to do in the fhilippines. What were some of these, .Jr.. Corbett ‘3 The fundamental land p 'oblen was not dealt with and the problem of lack of adequate city [damning was not corrected. that does Iatourette feel was the most significant failure of American f oreign policy in the Far East? ‘f I113 O .1 UDI O LSII‘J-...‘I.DER SHOT CORBET'" COL'?3.3"‘1‘: The success of Communism in China. .eLfter .-‘u.1cricans had concentrated more time and 1710113; in China than anyplace else in the Far East, the overthrow of the liationalist Govemaent was a crushing blow. Also, the conflict in Korea might have been averted if American troo;:s hadn't been prematurely removed from Korea. T111 'T‘TP-SIIOT WIISON: Yes, that's a strong point that Latourette makes in this book. Now let's look at the otherside of this problem. In which coun- try of the Far East has imerican li'olic;r been nmt successful since World I-J'ar II ? CU LEIG LIIJG: Iatourette feels the post-war record in Japan has been grati- ibing but he admits that it's too early to know I-dlether or not {gains will be peimanent. CU WILSOlI liCU UGJLLJETT I-ICU WILSOI‘I I'llLe'Ol 3: CORBETT: AUDIO We have time if or only one more comaent. Dr. Corbett, would "U T 7‘ -- . »?"| )","A‘? :‘w, 311' “:7 .1101). 38“]. 1.;4 .L-2..."'L_L JJLH 1L4"bvl'—D .Lla sJ Fifi file? is written OSpecial- 15/ for the expert in f reign af- ' fairs or for the general reader? latourette makes it clear that the book wasn't written for the expert, but rather for the general readxr who is interested in a swmmry of his government's actions during- the important years after the last World War. It isn't technical or deep; it's more of an essay ciphfljling the events that led to the various crises in the Far East. Time hasn 't allowed us to talk about all the countries Latour- ette covers in his book, but I'm.sure all of our friends at home will want to read for them- selves, TIE Al‘ERIGlII RECORD I13 TIL; FAR EAST to learn the facts VIDEO WILSON : in TO CU OF BOOK, TIDE AImICAN RECORD .13. THE F m, I955 -I951 on}: BOOK AND PLACE, KEY ON I“. SO ER om: BOOK OVER SLIDE: TEIE n- G10 13 SUI—"ER OVER BOOK AND KEY: SLIDE THE Al-LL‘RIC J RECORD III THE FAR EAST By Kenneth S. Latourette sums. SLIDE: FORD: THE Till-1333, ”I I3 MAN, THE C‘JT‘IPAIII "If? m Nevins "u \fL AUDIO ' regarding political events in th Far Pacific since the Japan- 0 s— surrender. O (D (1-1510: Ii' UP 1:111:31." T7131; TO as) E'HiAR-TV, in cooperation with the liichigan State library, has brought you another in the series, lhe Iiagic Key. Today's program featured, T18 MERIOUI RECORD III TILT, FAR EAST, by Kenneth J. Latourette. We Ive shat-m you some of the high- lights of this book and now we invite you to visit your library Irrr for a COpy' of TILE AlaliICM‘J RECORD IN TILE FAR EAST. Your librarian will be {glad to help you select similar books I'IhiCh are both in- formative and interesting. Do with us again next LOGIC when FORD: TIES TEES, T’E IAN, THE COI-IPAIEY by Allan Nevins will be presented on The I-Iagic Key. 0 VIDEO SUI’SR SLIDES GIVING C PRODUCTION CREDITS "'1‘ AND A131: 76 AUDIO This program was produced and directed by . Today's guests were Dr. Mary l-+ ,. Corbett, of the Political Science Department of I'vlichigan state College, and Hugh 3. Ling, a member of the Foreign langua- ges Department of Michigan State College and a well-known author- ity on oriental culture. Also appearing on today '3 program was John Wilson, staff announcer of W l—T’v’. T115 is Speal'c'mg. (MUSIC: nun-:3 UP AND OUT) 77 PRODUCTION SUGGESTIONS FOR THE PZHJGRAH FORD: TEE TIMES, THE MAN, THE COMPANY The program, FORD: TIE TIMES, THE I-LU‘J, THE COMPANY, makes liberal use of visual aids to illustrate material related by the narrator. Pic- tures called for in the script are found in the book about which the pro- gram is writtenand can be produced by the WKAR—TV staff artist. The narrator should be seated in a comfortable chair in a living roan setting. He should be dressed casually. Since he is off-camera much of the time, he can read most of his narration, although he should either use a teleprompter or memorize the portion of the narration he renders on- camera. Since voices play an important part in the program, they should be carefully chosen to reflect the character or give an idea of the type of person they represent. The voices of the leg 33315 limes and __Ne_w_ York M critics should be deep and full of assurance. The voice depicting Henry Ford should be clear and purposeful. Hiram Phaeim's voice should be resonant and self-assured. me other voices should be selected for con- trasting quality. In order to limit the mmber of persons in the produc- tion, versatile actors can be used to portray more than one voice each. his film 100p of cars on the highway can be obtained from the Ford Motor Gcmpany Film library, Dearborn, Michigan. The film loop of the United State: Capitol and other :biportant United states landrr.r1:s can be obtained from the mam-TV Film Department. M much studio camera time as the station will allow would be neces— sary in order to ensure that the flip cards, slides, and film are brought in at the preper moment called for in the script. Since the voices play an il'qsortant part in the program, careful selection of actors possessing the required voice quality is imperative. htqverinents with filters would be necessary in order to attain the exact effect desired. An alert di— rector and production staff, as well as coupetent "voices" can make this an impressive production. Two cameras would be adequate. —4 3 ‘33 PRODUCTION S CREW FOR FORD: VIDEO LlliBO -- CU OF BOOK OPEN BOOK AND FL’LCE KEY IN Aim: CEI'ITER OF IT DIZ TO SLIDE OF ELM-MILK} SETTEIG SLIDE : PATH LEAD I1“ 1G TO'VLLRD I— ”I VEN- LI LIGHT DIZ TO I-ICU OF ATTRACTIVE GIRL READ- IliG BOOK. GIRL LOOKS UP, SMILES, AND BECKONS AUDIENCE TOWARD BOOK. GO TO BLACK I-IOI-ENTARILY, TEEN DIZ TO: SUPER SLIDE: THE MAGIC KEY OVER CU OF BOOK AND KEY SUPER SLIDE: l-ECIIIGAN STATE LIBRMU LOOSE 51.1133. SLowLI 33am 1:33; CLOSE corn: or BOOK, czam'r BOOK TO cums. FOR cu OF coma: FORD: m3 Tll-IES, TIE mm, "as comm-II Wn‘fiévins r TIE T3136, TILE LIAN, TTLS CUE-3111?): AUDIO (115310: Tim-33 LR...TLZ°31-L$ TO DO) Doocs are keys to wisdom's treasures Books are gates to lands of pleasure Books are paths that upward lead Books are friends. Come --- Let's read. (l-‘IUSIC: THEE-'33 UP BRIBEX TEEN TO DO) The Ihgic KeyJ -- A program f eatur— ing books you'll want to read. 'lhis series of programs is pre- sented in cooperation with the I-‘fichigan State library and fea- tm‘es timely new books as they become available to the public. Today, we 're presenting, FORD: This TEES, TILE IIAl-I, “1113 COIPM‘H, by Allan Nevins, a book which gives a complete picture of the beginning and {growth of the auto- motive industry. r» o3 VIDEO 1.1111111 DIZ TO 13mm: 111311 To 11:1: our or (1mm: T113121 313-113 llITO "T: 11131." A 110113111: L'OL 1—1 1113 :1 ..1 11.1111: WITH 1:11:13. UP BRISFLT T1115. OUT) QUIS SPEEDLG ALL) - dUI’uR 311 ALL RESET OF IUUZI‘TTOP'LS H310 IN BIG. IT I-IAIEMTOR: rThis is a modern his hwa‘, . IIAIID UPPER COidsi ()1? Fr? TIE IOOKS TOWARD CARS UTIL’S I .TALI.IlIG Those cars Speedil 3 along the ABOUT HIGHWAYS, {311$ TO‘L'LLD CAI-ERA WHEN TALK IIIC": BO AUDI 31'. 33 smooth concrete are a familiL r Sight to Jon. (PaUSE) Have you ever wondered.- rho invented the first car? Ifilether one man worked alone to pioneer the Way for our modern automobile or whether there were many eager to build a successful horseless carriage? Lo 3 FILM. DIZ To 11011 or IIARILATOR Allan Nevins' new book caled, 1101113: T113 111133, T113 1511:, T 33 COLH'AITT answers these questions CUT TO CU IIEI'I TORI; TEES BOOK SECTION and 11133:,r more. The New Iork T511103 Book Review called this book: JOICE :A lan mar}: contribution to American industrial his tor. (111310: 3001;) IIAJID 0V3.- EATS 155W YORK I 5RALD I‘IAR: The Riel-I York Herald Tribune Boo}: T.1IBU1"13.BOOIILBVIB5‘I' Review said: VOICE: As a case Easter} in industrial _. -____—__..._.-.. — CUT TO BCU OI" TIME PEOPLE STAIIDEIG IN FRONT OF PLAIN BACKDROP. PAN TO EACH PER- 501‘: AS 2L3 an; A were, LEFT TO RIGHT '1‘sz RIGHT TO LEFT DIZ TO I-ICU OF I‘IARIATOR 70 I (13 : 1-”. 3 ‘LL'L. VOI CBS *7) -4 fl Iv— .atJJIO develoynent, this boo}: is almost vitlmut parallel. (EIUJIC .5032; TILE}? OUT w s o If anyone had predictee nae]: in IE 95 that within tI-Jenty years Aneriem industzy would be more COI:L1,~10'7;O]J remade than in the whole previous century, most people would have asked in amazement: (VOICES “ WHEAT? - AF‘I‘ER" III UZ‘IISOI‘I, THEN EACH VOICE SAIS A THEE DOWN T113 JIITE AND BACK TO FEST VOICE) Wnat? - After Stephenson, Whitney, Horse , .‘Bes semer, MC Germ Lek, Edis on ? Yet the prophecy would have been true. During those twenty years the development of automtic machine tools would continue with amazing results. Factory procedure would be revolutionized b; mass-production techniques -- a Germination of precision, eon- tinuity, Speed, and standarcu- zation that Opened new horivons VIDEO DOLLY IN TO SII‘IJU‘LDER SHOT OF MR EAR HOLDS UP BOOK. OF COVER TAKE CU IIAR: AUDIO in production. Divention would contimie its breal-meek pace , with spectacular aehievmmnts in transportation -- the invention of the automobile and the air- plane. As a result, in 1915' unskilled labor would be able to produce fifty times the quantity of 17W products that skilled labor had turned out tx-renty years earlier, with much greater quality. The story of this new industrial re- volution is largely the story of the men who made it. ‘i‘nat's why, in following the growth of modern transportation, we must trace the progress of the pioneers. In Z-Ir. Nevin's book, we follow the career of the most widely known of the group, Henry Ford, with special concern. it I; nrpul bl / ,4 VIDEO DIZ TO SLIDE. OF R HEAL SETTING CU OF PHOTO ”F HAYNES FLIP TO CU OF PIC OF DUR'IFA FLIP TO CU OF PIC OF OLDS FLIP TO CU OF PIC OF WINTOII DIZ TO LSIIOUIDER SHOT OF NARP TOR AUDIO Nearly all of the chief founders of the automotive iniustry cam rem farm homes and, as we might suspect, a considerable number of them were born about the same time. Elwood ilaynes first saw the light of day in 1857 in a small Didiarn community. Charles r'hfiar Duryea was born on a farm near Canton, Illinois, in 1861. Ransom 3. Olds was born in 18614 as the son of a village mechanic at Geneva, in northern Ohio. Over- seas, Alexander Hinton began his life in a rural area of Scotland in 1863. These men were younger than Season, I'Iestinghouse, and Alexan- der Graham Bell, just as the in- dustry they founded was younger than the electric light, the air - brake, and the telephone. They were older than the E'Jright VIDEO CU PHOTOGFAPII "F HEIRS.” FORD SUPER JULY 30, 1863, OVER PHOTO LOOSE SUPEIED DATE FL]? TO PICTURE DEPICTDJG SDI-TE ASPECT OF CIVIL WAR DIZ TO CU PHOTOGRAPH OF WILLIAIII FORD AUDIO brothers, just as their accom- plislment was older than the airplane. Henry Ford, like his contemporaries in automotive history, was born. on a farm. rI‘he date was July 3.7.), 1863, and the place, near Dearhorn, I-tichi- can. (MUSIC: 31m}: III "THE BATTLE mm or THE. REPUBLIC") This was a stirring time to be born. Not a month earlier, many boys from Dearborn and other townships of Wayne County had fought at Gettysburg. If the household contained any news- papers, they would have carried echoes of draft riots just sup- pressed in New ”fork. But Henry Ford '3 father, E-Jillizun, had not volunteered for service; he was sticking close to the task of taxing the wild land to which he had brought his fendly. (IMJIC OUT) FLIP TO CU OF P‘IC'IUIE EPICTII-IG F ARM FLIP TO CU PICTURE OF MAN WITH LITTLE BOY IflIJIl'IG IN COUNTRY DIZ TO I-ICU OF IIAIUATOR DIZ TO CU OF PICT' RE OF mums FOLLOWING HORSE- P 'LIED PLOW FILTERED (”y-J u) AUDIO m Horny grew, his father tried to interest him in farm life. “fears afterward, Henry F rd said his first childhood memory was a wall: into the country with his father. Although he liked birds and out- door life, Henry found no plea- sure at all in the endless farm drudgery. Later he wrote: Considering the results, there was too much work on the farm. Even when very young I suSpeeted that much might be done in a better 143;}. rThat's what tool: me to me- chanics —- although my mother always said that I was a born mechanic. I've followed puny a. wear;r mile behind a plow and I know all the drudge 17; of it. What a waste it is for a human being to spend hours and days behind a slowly moving team of horses when in the same time a tractor VIDEO FILTEIED VOICE: DIZ TO CU OF CIAEL’: DIEM-IT'S UAR: T) "r*17fi3‘v;‘ 1 U J. Uni: DIZ TO SHOUIDER SHOT OF I‘MIUIATOR AUDIO could do six times as much worm Henry Ford was married to Clara Bryant on April ll, 1888. They lived on a farm near Dearborn first and Henry worked on his ideas for a horseless carriage in.a little workshop attached to the house. But when Henry'began to hear and read about steam.and gasoline- driven vehicles, he felt he must move into the city of Detroit where he could find out more about electricity. He needed more know- ledge and experience before he could develOp his ideas success— fully. He started worldng at he idison Illuminating Company in 1891 and Spent his after-work hours trying to devise a gasoline- propelled vehicle. But Henry Ford wasn't the only young American working on a horseless carriagz. (.17 AUDIO VIDJO HA2: Ransom Olds, .filwood Haynes, {hassles and Fraxfl: Juryea, Hem'y and Z’I-Lilip Iladig, and Hiram Iiazcim were all hard at work at the same project. Hiram Iiaxim wrote many years later: FILTERED CU OF PICTURE OF EARLY— VOICE: Why did so mny different and MODEL AUTOIIOBIIE widely separated persons have the same thoughts at the same time? It has always been W belief that we all began to work on a gasoline-propelled road ve- hicle at about the same time be- cause it had become apparent that civilization was ready for a mechanical vehicle. . . . . BRING IN FIIM LOOP OF CARS NAP»: It's been said that nothi: rr has SPEEDII‘JG UP AND DOWN MODERN HIGHWAY done more to change the day-to- day routine of the American family than the autOJ‘iobile. The motorcar is the symbol of mn's uneeasing struggle to mas- ter time and distance. AUDIO VL‘JJO DIZ TO l-ICU OF I‘LILLLLITCR DALI: Back in 193:], the name of He. *y Ford was inc0113picuous among the galaxy of inventors, prmoters, and engineers. But within ten years, he emerged as the giant who changed the whole American geography. Ford's achievement was not in pioneering '110 motor car but in commercializing it. This was partly a problem in engineering and partly in econo- mics. In 1900, Ford devised his famous prescription f or a car: FILTERED 3L 3 OR FLIP CARD WITH VOICE: Make it light, rnak it sturdy, LIGHT, STURDI, Sll-IPLE PRINTED ON IT. SUPER make it Simple. IiCU OF NARPATOR OVER PRINTING I‘IAR: This became the criterion of the Ford I-‘Iotor Compamr -- a lisht, rugged, and well-powered machine sold at the lowest pos- sible price. The two things -- a good design and the drive for ever lower prices --— appear as the source of nearly all of the VIDEO DIZ. TO CU OF PICTLRE OF MODEL T FORD CUT TO CU OF PICT RE OF I-IOVIIIG ASSEIBL‘I LDfl-PEOPIJE AND I-‘IA- CIIIHES . T WORK FLIP TO CU OF PICTURE or 1916 FORD newsman AUDIO other innovations which made Henry Ford famous. It was the Model T Ford that put the Ford E'iotor Campalv at the top of the list of automotive ~-- - corapetitors and made Ford famous. Ihe public demand for ‘his sturdy, yet inezqaensive car was so great that factory methods had to be changed constantly to keep abreast of orders. WV n the moving as- sembly line, the most publicized of all industrial innovations, was only one of the more drama- tic steps in the effort to 1:331 production abreast of demand. The Ford.policy of keeping prices low and production :plantity high paid off in dividends. In 1916, the Ford roaster sold at only :,;;3h§ -- “I but the comazv nettec; close to a hundred dollars on each road- ster sold. SICSTCI-I OF PRICES BEEIG JULSE-ED AND PEOPLE RUSH- IIIG TO INVEST IN NEW CARS DIZ TO I-ICU OF IMPRATOR n, n ..d ‘L FILTERED VOICE : (FORD) NAB: Oi) A‘LIL‘ItIC 3.1," adhering to Ford's principle of keeping prices low, the com- pany demonstrated that a system- atic lowering of price could go hand in hand with an enlargement of profits. Ford said: Every time I reduce the charge of our car by one dollar, I get a thousand new buyers . Of course, talcing the lower profit on a larger volume was an old principle in marmfactur- ing, and thousands of companies in hundreds of industries had proved its validity; but never before on the scale of the Ford I-Iotor Company. Ford proved that ever;r time the company cut prices it tapped a new layer of demand; that the number of these succes- sive layers was greater than men supposed; and that as they went lower the layers grew bigger. V IDEO AUDIO MIR: Further price reductions meant new enlargements of the market, acceleration of mass production's larger economies, and greater total profits. The company's firm grasp 1‘ this principle was its element of strength -- just as failure to graSp it had been one of the weaknesses of rival car- makers. By 1913, the Ford Iiotor CU PICTUZE OF E TERIOR OF FORD'S Germany had the most solid posi- IIIGHIADUJ PARK FACTORY tion of all motor car comparfies, and the history of its success was the most Spectacular. DIZ TO IiCU OF 1311171:le Was Henry Ford alone the magnate who built the Ford Eiotor Company :V) r) " 1". from the initial ..,.x_o,-cO invest- ment to the nullti—million dollar enterprise to which it grew? We conclude from Allan I'Ievins' book that Ford was not a business man at all, at least in the narrow-r sense of the term. He had no VIDEO AUDIO RAUL: talent no: interest in admini- stration. ZIe dithi't care to worry ab out problems of buying, selling, or planning, and beyond a point seems to have been little interested in making money. All these things were the concern of CU I’HOTOGE‘APH OF JAIL-ES COUZEIIS Ford's partner, James Couzens, who was a brilliant organizer and sldllful administrat or. Of CU PHOTOGRAPH OF I—LE 1173f FFRD coxu~se, it was Henry Ford who bromht the company into being, and it was he who possessed the qua ° ty of imagine. tion, math enough mechanical sense to give direction to his inegimtion. It was Horny Ford who made the aim of the Ford Motor Company: FILTERED VOICE: To build more and better factories, (FORD) to give as many peeple as I can a chance to be prosperous. DIZ TO I-ICU OF I‘lAELMTOL'E MAR: Henry Ford was a man of vision and often his vision was strikingly VIDEO INCI: DIZ TO CU PICTURE OF DIRT ROAD, OLD BUILDINGS, ONE OR Two entrances mum FILT‘El‘uED ALOIEG THE ROAD VOICE OF H. FORD: FETERED VOICE OF CIARA FORD: LAD DISSOLVE TO PICTURE mm: or MODERN I-[IGIMAY AND (FILTEIUSD) mm memo CIARA: (FILTER-3D) DIZ TO LICU CF IIAR’LATOLI Inn: 93 AUDIO accurate. Llar'1;, in the days when automobiles were a great rarity, Henry and Clara Ferd were walling detm Fifth Avenue in New "fork. Suddenly Henry turned to (Dara ._ and said: (Dara, do you see this street? Yes. Some day there '11 be two rows of cars going both ways down a wide, smooth highway. I declare, 1181117, sometimes you let your imagination wander tee farJ Allan Ifevins' book gives a clear picture of Henry Ford's charac- ‘l‘ "I 00.2. . He kept a diary most of his life and his clear-thinI-alng, positive approach is reflected in his jettings in it: CU OF RATHER CRUDE WRITII‘IG FILTERED IN DIARY. FLIP PAGE AFTER EACH NOTATION -- ONE NOTA- TION ON EACH PAGE DIZ TO SHOULDER SHOT OF READER BRING IN FIIM LOOP OF U.S. CAPIIOL, LIBERTT'BELL, ETC. VOICE: (FORD) NAR: 9h AUDIO Don't find fault, find a remedy. Amrbody can complain. A man who cannot think is not an educated man, no matter how many college degrees he has. Thirflcing is the hardest work that anybody can do. Work does more than give us our living, it gives us our life. The story of Henry Ford's rise from a humble farm boy to an in- dustrial statesman reads like Horatio Alger fiction. But the book, FORD: THE TIMES, THE MAN, THE COMPANY, embraces something far more significant to contem- porary America. (MUSIC: SNEAK IN AND commas mum, "AIERICA") than the poverty-to—ri ches brought about by honest toil and the strict following of a purpose. This is the story of American genius at work in a free economy, the reali- zation of a system of private VIDEO NAB: DIZ TO CU OF EARLY-MODEL CAR. FLIP T0 CU 0F MODERN CAR (II OF BOOK, FORD: THE ANN: DIZ T0 TIMES, TEE yfl, QWM" OPEN BOOK AND PIAGE KEY ON IT SUPER OVER BOOK AND KEY, SLIDE: FORD: THE TIMES, THE MAN, THE COMPANY, Ry Allan Nevins 95' ( AUDIO enterprise and individual self- expression. This is the story of mass production that has changed the outline of a nation's social and economic life. The drama and color in the story of \ O'II.‘ .‘ “1'“. l.._” the autanobile have few equals in history. (MUSIC: UP TO FINISH. smUE z INTO THEME, THEN TO so) ; WKAR-TV, in coqoeration with the Michigan State library, has brought you another in the series, The Magic Key. Today '3 program fea- tured, FORD: THE Till-(ES, THE MAN, THE COMPANY, written by Allan Nevins. We 'ye given you a glimpse of a few of the highlights of this great new book and now we invite you to visit your library for a mm of FORD: THE TIMES, THE MAN, TIE COMPANY. Your librarian will be glad to help you select simi- lar books which are both VIDEO ER SLIDE OF NEXT WEEK'S FEATURED BOOK AND AUTHOR SUPER SLIDE: THE MAGIC KEY SUPER SLIDES GIVING CAST AND PRODUCTION CREDITS 96 AUDIO informative and interesting. Be with us again next week when 85’ willbe featured on The Ivhgic Key. This program was produced and directed by_ 0 Featured in the cast were: _, the narrator; A) as Henry Ford, the boy; Ford, the man; ,Henry ,ClaraBryantFordg as voices. Your announcer has been (MUSIC : THEMEUPANDOUT) CHAPTERIV BIBLICERAPHI BIBLIOGRAPHY BOOKS American library Association, She Use of Television by the Pu___‘r_>____lic Iib____;_rary__. Chicago: American Library AssocmtIon, 19119. Baker, Carlos, Hemingway: The Writer 33 Artist. Princeton: Princeton University FESS, I952. Betting-er, Hoyland, Television TechnigLuss. New York: Harper and Brothers, 19:47, 237 pp. Bolen, hm, Fundamentals of Television. Hollywood: Hollywood Radio Publishers, Ihc.,*1950, 27b pp. \ Bretz, Rudy, Techniques of Television Production. New York: Iv'cGraw-Hill 300k mm, Inc" 0 and Edward Stasheff, TelevisionSc ri____2ts for Staging an____d St___u___,