Exhibitors Herald (1927)

Record Details:

Title:
Exhibitors Herald
Date:
1927
Volume:
Exhibitors Herald (Mar-Jun 1927)
Leaf #:
00095
Language:
English
Collection:
Hollywood Studio System and Early Cinema
Format:
Periodicals
Contributor:
The Museum of Modern Art Library, New York
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Founded in 1915 by a Chicago printing company as a regional trade paper for Midwest exhibitors. In 1916, editor Martin Quigley bought out the owners, and over the next 15 years, he grew EXHIBITORS HERALD into one of the most important national, weekly trade papers in the film business. Quigley acquired MOTOGRAPHY in 1917 and MOVING PICTURE WORLD in 1927. In 1930, he acquired MOTION PICTURE NEWS and the new 'consolidated' publication became MOTION PICTURE HERALD. From the pulpit of his editorial page, Quigley preached the need to improve the motion picture industry and improve the quality of the films. He skillfully served as a mediator in disputes -- between distributors and exhibitors, between the film industry and the Catholic Church (Quigley was one of the architects of the Production Code). Quigley claimed that EXHIBITORS HERALD represented the 'independent exhibitor' and sections like 'What the Picture Did for Me?' certainly provided a forum for theater owners. But plenty of exhibitors viewed Quigley as a servant to the studios and large theater chains. In response, publications such as SHOWMEN'S TRADE REVIEW, INDEPENDENT EXHIBITORS FILM BULLETIN, HARRISON'S REPORTS, and BOX OFFICE were either formed or grew significantly in the years following Quigley's brief moment of consolidation in 1930. -- Eric Hoyt, 2014
Date Added:
September 21, 2023
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

March 19, 1927 29 The EXHIBITORS HERALD ROX THEATRE Worlds Largest Is Opened in New York “Better Theatres” Presents Exclusive Photographs SIX THOUSAND TWO HUNDRED seats. That’s the new Roxy theatre. Today it is the largest motion picture theatre in the world. The crown of “world’s champion” rests easily on its massive frame. It may not be polite to wonder so soon who will succeed the newly crowned champ, yet champions have a habit of succumbing to the march of progress and time. Only three years ago the public and the motion picture industry was cheering the 5,000 seat playhouse as the absolutely last word in the way of undefeatahle size for a motion picture theatre. In February, 1924, “Better Theatres” published the result of a nationwide survey among theatre architects in which it asked the pointed question, “Has the motion picture theatre reached its maximum size in the 5,000 seat house?” (There was only Early in November, 1925, S. L. Rothafel, better known as “Roxy,” inaugurated the demolition ceremonies of the old carbarns at 50th Street and 7th Avenue, New York City, for the site of the new Roxy theatre. Walter W. Ahlschlager, Chicago architect, had prepared the plans for what was to become the world’s largest motion picture palace. Built of Bedford stone, terra cotta and pressed brick, the Roxy occupies one theatre approaching this seating capacity at that time.) The answers from more than two score architects was an emphatic “Yes.” Yet, here we have the Roxy, 6,200 seats strong. So, we ask in all seriousness, “What next?” Every champion, however is entitled to his day, and today the Roxy is the king-pin of motion picture theatres. Though they may build bigger theatres in the years to come, the Roxy will always occupy a place in the motion pictures industry’s Hall of Fame, and that tlie records of its present day glory may be preserved to posterity, the chronological facts of its inception, growth and ultimate triumph are here set forth : used for private projection rooms, dressing rooms, clubrooms, tailor shop, in fact every convenience for what is promised as a “city within itself.” Two high speed elevators with combined capacity of eighty people carry patrons to the balcony and a marquee along the length of the building takes care of patrons in inclement weather. A radio broadcasting studio contains the last word in modern equii)ment {Continued on page 33) a plot which fronts 290 feet on north sicle of West 50th Street and 190 feet on south side of West 51st Street, and has an irregular depth of approximately 200 feet. The theatre covers an area of 52,250 square feet rising to a height of 115 feet making it the largest in the world. There is a seating capacity of over 6,214 seats, some of which on the mezzanine floor are divan seats. Back stage is a six storv building EXTERIOR OF THE NEW ROXY THEATRE ON THE SIST STREET SIDE (Photo Copyright by Tebbs & Knell, Inc., New York, N. Y.)