women in a state of partial nudity. But to the Indian, dogs are merely utilitarian objects, landscapes are what he sees only too much of, every day of his life, and half-naked blondes are uninteresting, perhaps a little repulsive. American calendars were, in consequence, far less popular than German calendars; for the German advertisers had taken the trouble to find out what the Indians valued and were interested in. I remember in particular one masterpiece of commercial propaganda. It was a calendar put out by a manufacturer of aspirin. At the bottom of the picture one saw the familiar trademark on the familiar bottle of white tablets. Above it were no snow scenes or autumnal woods, no cocker spaniels or bosomy chorus girls. No—the wily Germans had associated their pain-relievers with a brightly colored and extremely lifelike picture of the Holy Trinity sitting on a cumulus cloud and surrounded by St. Joseph, the Virgin Mary, assorted saints and a large number of angels. The miraculous virtues of acetyl salicylic acid were thus guaranteed, in the Indians’ simple and deeply religious minds, by God the Father and the entire heavenly host.
This kind of persuasion-by-association is something to which the techniques of subliminal projection seem to lend themselves particularly well. In a series of experiments carried out at New York University, under the auspices of the NationalInstitute of Health, it was found that a person’s feelings about some consciously seen image could be modified by associating it, on the subconscious level, with another image, or, better still, with value-bearing words. Thus, when associated, on the subconscious level, with the word “happy,” a blank expressionless face would seem to the observer to smile, to look friendly, amiable, outgoing. When the same face was associated, also on the subconscious level, with the word “angry,” it took on a forbidding expression, and seemed to the observer to have become hostile and disagreeable. (To a group of young women, it also came to seem very masculine—whereas when it was associated with “happy,” they saw the face as belonging to a member of their own sex. Fathers and husbands, please take note.) For the commercial and political propagandist, these findings, it is obvious, are highly significant. If he can put his victims into a state of abnormally high suggestibility, if he can show them, while they are in that state, the thing, the person or, through a symbol, the cause he has to sell, and if, on the subconscious level, he can associate this thing, person or symbol with some value-bearing word or image, he may be able to modify their feelings and opinions without their having any idea of what he is doing. It should be possible, according to an enterprising commercial group in New Orleans, to enhance the entertainment value of films and television plays by using this technique. People like to feel strong emotions and therefore enjoy tragedies, thrillers, murder mysteries and tales of passion. The dramatization of a fight or an embrace produces strong emotions in the spectators. It might produce even stronger emotions if it were associated, on the subconscious level, with appropriate words or symbols. For example, in the film version of A
Farewell to Arms
, the death of the heroine in childbirth might be made even more distressing than italready is by subliminally flashing upon the screen, again and again, during the playing of the scene, such ominous words as “pain,” “blood” and “death.” Consciously, the words would not be seen; but their effect upon the subconscious mind might be very great and these effects might powerfully reinforce the emotions evoked, on the conscious level, by the acting and the dialogue. If, as seems pretty certain, subliminal projection can consistently intensify the emotions felt by moviegoers, the motion picture industry may yet be saved from bankruptcy—that is, if the producers of television plays
This kind of persuasion-by-association is something to which the techniques of subliminal projection seem to lend themselves particularly well. In a series of experiments carried out at New York University, under the auspices of the NationalInstitute of Health, it was found that a person’s feelings about some consciously seen image could be modified by associating it, on the subconscious level, with another image, or, better still, with value-bearing words. Thus, when associated, on the subconscious level, with the word “happy,” a blank expressionless face would seem to the observer to smile, to look friendly, amiable, outgoing. When the same face was associated, also on the subconscious level, with the word “angry,” it took on a forbidding expression, and seemed to the observer to have become hostile and disagreeable. (To a group of young women, it also came to seem very masculine—whereas when it was associated with “happy,” they saw the face as belonging to a member of their own sex. Fathers and husbands, please take note.) For the commercial and political propagandist, these findings, it is obvious, are highly significant. If he can put his victims into a state of abnormally high suggestibility, if he can show them, while they are in that state, the thing, the person or, through a symbol, the cause he has to sell, and if, on the subconscious level, he can associate this thing, person or symbol with some value-bearing word or image, he may be able to modify their feelings and opinions without their having any idea of what he is doing. It should be possible, according to an enterprising commercial group in New Orleans, to enhance the entertainment value of films and television plays by using this technique. People like to feel strong emotions and therefore enjoy tragedies, thrillers, murder mysteries and tales of passion. The dramatization of a fight or an embrace produces strong emotions in the spectators. It might produce even stronger emotions if it were associated, on the subconscious level, with appropriate words or symbols. For example, in the film version of A
Farewell to Arms
, the death of the heroine in childbirth might be made even more distressing than italready is by subliminally flashing upon the screen, again and again, during the playing of the scene, such ominous words as “pain,” “blood” and “death.” Consciously, the words would not be seen; but their effect upon the subconscious mind might be very great and these effects might powerfully reinforce the emotions evoked, on the conscious level, by the acting and the dialogue. If, as seems pretty certain, subliminal projection can consistently intensify the emotions felt by moviegoers, the motion picture industry may yet be saved from bankruptcy—that is, if the producers of television plays
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