Exhibitors Herald and Moving Picture World (Oct-Dec 1928)

Record Details:

Title:
Exhibitors Herald and Moving Picture World
Date:
Oct-Dec 1928
Author:
Quigley Publishing Company
Publisher:
Chicago, Quigley Publishing Company
Volume:
Exhibitors Herald and Moving Picture World (Oct-Dec 1928)
Leaf #:
000293
Language:
English
Collection:
Early Cinema and Hollywood Studio System
Format:
Periodicals
Contributor:
Media History Digital Library
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
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October 27. 1928 EXHIBITORS HERALD and MOVING PICTURE WORLD 13 Not a theatre lounge, of course, but a studio living room created to give quite as much comfort — for those cast in the purely modern mold, perhaps more. 1 his chamber is in the French modernistic manner. A modern American living room by Eugene Schoen. This truly modernistic treatment yet bears marks of conservatism, a Yankee trait. But efficiency is in the furniture, and that is modern and Yankee both. Lee simonson, designer of the productions of the New York Theatre Guild, was architect of the Macy exposition of "Art in Industry" in New York, in which the rooms pictured were displayed. It was he who staged the 3,000 exhibits. Says Simonson: "We avoided the use of wood wherever possible. I believe wood is not a modern building material. It has outlived its usefulness. The important thing is to develop materials that will eliminate the great labor that has gone into the finishing of wood?. This is essential if beautiful objects are to become inexpensive and prevalent enough for general use. The high finishes traditional in furniture are a relic of the days when craft labor was abundant and cheap. Why continue this practice in a day when all the emphasis is placed on labor saving devices? "I predict that metal will be increasingly used in modern ornament and furniture. Its beauty is in itself. Its finish is inherent in the nature of the material. What remains to be done is to work into it color and texture, and this some chemical process will eventually solve. "Modern design is beginning to recognize that therr is a definite place for raw and unworked materials. A strictly utilitarian material like asbestos, for instance, has been discovered to have decorative qualities hitherto overlooked. "The art of today is capturing the discoveries of the scientist in his laboratory for the purpose of combining utility, beauty and economy to meet the needs of present day life. That is the story which we tried to tell dramatically in the Exposition." \