The film finds its tongue (1929)

Record Details:

Title:
The film finds its tongue
Date:
1929
Publisher:
New York : G. P. Putnam’s Sons
Volume:
The film finds its tongue
Leaf #:
00043
Language:
English
Subjects:
Motion Pictures, Motion Picture Technology
Collection:
Books
Format:
Books
Contributor:
Niles Essanay Silent Film Museum
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
March 21, 2024
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.

EARLY STRUGGLES 25 graph, come to the conclusion that they were cutting each other's throats to no purpose. The upshot was the formation of the " Trust" — the Motion Picture Patents Company — in which Edison, Biograph, Vitagraph, Lubin, Selig, Essanay, Pathe, Kalem and Melies pooled their patents and their claims to special rights. The Patents Company proposed to maintain a firm grip on the industry; and to that end determined that only studios licensed by them would be allowed to make pictures; that only licensed exchanges would be allowed to deal in them; and that through the Exchanges a license fee of $2.00 a week would be collected on every projector showing film made by members of the Patents group. No unlicensed film could be handled and no licensed film could be served to any but licensed theatres. The entire industry, production, distribution and presentation, was bound together in a tight, all inclusive scheme. In another sense, the wolf of monopoly had it by the throat. In short, just as the Exchange men had ' ' taken it away" from the theatres, the film makers were now moving to capture the lion's share of the