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1953-54 Theatre Catalog, 11th Edition, Page 371 (333)

1953-54 Theatre Catalog, 11th Edition
1953-54 Theatre Catalog
1953-54 Theatre Catalog, 11th Edition, Page 371
Page 371

1953-54 Theatre Catalog, 11th Edition, Page 371


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mainder of the ad for your attraction. After these points have been pounded homeenot once but many timesecontinue your institutional campaign by the use of drop-in slugs, or drop-in copy, throughout the entire season. Illustration Number One shows the use of this institutional material, and illustration Number Two 15 an example of the use of the drop-in slug. Dontt let up on the use of this copywthis is what itsells" a drive-in theatre to the public. And the sooner you educate the public to what you have to offer, the quicker your drive-in will realize its greatest potential business.

Press Book Mat-s

There is a considerable difference of thought as to the use of press book mats for driveein theatre newspaper advertising. Someeand personally I agree with this school of thought - believe that press book mats tell too much about the feature. The average drive-in theatre in the average location is playing product anywhere from 30 days to one year or more after first run, with most playing nearer to the one year than to the 30-day availability. Therefore, an ad that carries only a punch line, cast and title may attract patronage because it is not telling too much, because it is not refreshing the memory to such an extent that the picture is too familiar. A press book mat uses the very same approach that had been used in selling the picture first run and may, therefore, be too familiar to the average potential patron. Illustrations from mats are most helpful, but to drop in a mat in its entirety may tend to remind your potential patrons that the particular picture played downtown some months before at a mediocre theatre or possibly, that it played downtown to very poor reviews.

Signature Cuts

In making up your newspaper ad, a signature cut is not only a ttmust" but actually saves you money. First, the signature cut, used day in and day out, becomes a symbol of your theatre in the reader's eye-she can glance down through the ads and readily pick out your drive-in theatre. This signature cut should be distinctive, hand drawn and should contain your theatreis name and

lNSTlTUTIONAL ADS, used either alone or in conjunction with a signature cut. can be spotted through the season as regular advertising to bolster the feature attraction advertising. One or more friendly competitors could collaborate and take banked credit to the advantage at all.


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location. It should be made up in several sizes so that the cut fits the ad you have written. For ordinary drive-in use, you should have a one-column, a column-and-a-half and a two-column signature cut. These lend themselves to ads up to four-column size. They save you money because a good signature cut contains all the necessary information in the least possible space, so that you actually use less space in each ad in getting this information forcibly across to the public than you would in setting this same information in type. Thus, at the end of the year, the lineage saved more than pays for the cost of the cuts. Naturally, such a cut can be used for several years and the cost can be pro rated over the years it is used. 11lustrated are several signature cuts that are distinctive and effective.

Layout As to the actual layout of your newspaper ad, there are only two elements that set limitations on your layout: first, your own ability to design a good ad; second, the mechanical means available in the composing room of the newspaper in which the ad is to appear. Newspaper format is a series of horizontal and vertical lines anything at an angle to these lines, merely because it is not following the regular pattern, stands out. Therefore, an off-angle box becomes more effective. However, can your newspaper set up an off-angle box in your ad? If it can, you can secure a striking layout at no increase in the amount of space used. The composing room foreman can not only help you in the use of space in his newspaper-the rules, borders, even cuts available to you #but also advise you as to his limitations. Unless you are an expert, leave the selection of type to him, but tell him what you want. For instance, punch lines in italics; your main selling point, either cast or title, in bold face caps. Once he knows what you want, he can assist you in obtaining it in his paper.

Press Books

In setting up your ad, use a press book. Here you have, at no cost to you, all the pertinent information relative to that particular picture, and copy written by experts that is far superior to anything that you might dream up yourself. The field of the layout of an ad is so broad that volumes could be written on it: the use of white space, the use of borders and the absence of borders, utilization of gutter space, the use of cuts, etc. However, here are a few do's and donits:

Donlt use a stock layout day after day. Its just like looking at a picture on the wall: the first time, you look at it; the second time, your glance slides over it; the third time, your eyes instinctively tell you that you have seen it before and it doesnt register.

Don,t use the same size ad day after day. Vary the size as you vary the layout.

Don't crowd too much copy into too little space. If you have something important to say, take the space to say it.

Donlt sacrifice copy for a tricky layout. Layouts can become so extreme that their primary purpose can be lost.
1953-54 Theatre Catalog, 11th Edition, Page 371