Exhibitor's Trade Review (Sep-Nov 1921)

Page scan 000528 from Exhibitor's Trade Review

Record Details:

Title:
Exhibitor's Trade Review
Date:
Sep-Nov 1921
Publisher:
New York, Exhibitor's trade review, inc.
Volume:
Exhibitor's Trade Review (Sep-Nov 1921)
Leaf #:
000528
Language:
English
Collection:
Early Cinema and Hollywood Studio System
Format:
Periodicals
Contributor:
Library of Congress, MBRS, Moving Image Section
Sponsor:
Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division
Coordinator:
Media History Digital Library
Description:
In late-1916, Exhibitor's Trade Review entered a crowded market of weekly motion picture trade publications that already included the Moving Picture World, Motion Picture News, Exhibitor's Herald, and Motography, along with theatre and vaudeville-oriented papers that covered film, such as Variety, the Billboard, and the New York Clipper. To gain market share and differentiate itself from competitors, Exhibitor's Trade Review pursued a variety of tactics -- some constructive (gathering allies among exhibitor organizations), others destructive (smearing the reputations of competing trade papers and certain film companies that refused to buy advertising). Despite the behind-the-scenes controversies, though, Exhibitor's Trade Review appears to have, in the words of Alan Gevinson, 'established itself legitimately in its role as advisor to and fighter for the independent exhibitor.' All the issues that mattered to independent exhibitors were covered, including censorship, taxes, distributor contracts, piano accompaniment, and, of course, the films. In 1926, Exhibitor's Trade Review ceased weekly publication and only offered the daily service, Exhibitor's Daily, which was acquired a few years later by Martin Quigley as he attempted to consolidate the industry's trade papers under his control. -- Eric Hoyt, 2014
Date Added:
August 01, 2024
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1414 EXHIBITORS TRADE REVIEW Volume 10. Number 20. Modern Studios And Laboratories Titles — Artistic and Otherwise There are many elements that go to the making of picture titles — both good and bad. Apart from their actual phraseology — upon which subject more than enough has already been written — there is much to consider in the matter of their design. By A. J. HITCHCOCK Title Designer for Famous Players-Lasky British Producers The first and most important aim is to make a title readable. This may seem a fairly obvious statement, but so many cases exist even to-day of titles that present difficulty in reading. If an audience have to read a title that is not legible, they immediately conclude that it was not on the screen long enough for them to decipher, whereas, allowing exactly the same footage, if that title has been clearly written, the result would have been entirely satisfactory. In the choice of a type, the essential consideration is to select style of lettering Sets in the Million Dollar Picture wmmmmmm Upper left-hand photograph is a pigeon shot at Monte Carlo while it was being built. Upper right-hand shows how the Universal staff graded a mountainside to build a Monte Carlo street. Oval shows a difficult piece of work built out over the rocks on the shores of the Pacific. Lower pictures show tremendous amount of scaffolding used, which some studio historians say is the largest amount of lumber ever used for that purpose. The completed sets will be studied by studio setting experts in the finished prints of "Foolish Wives," the Von Stroheim special now being edited by Universal for early release