In the District Court of the United States, for the Eastern District of Pennsylvania, the United States of America, petitioner, vs. Motion Picture Patents Company, et al., defendants (1914)

Record Details:

Title:
In the District Court of the United States, for the Eastern District of Pennsylvania, the United States of America, petitioner, vs. Motion Picture Patents Company, et al., defendants
Date:
1914
Publisher:
New York, Appeal Printing Co.
Volume:
In the District Court of the United States, for the Eastern District of Pennsylvania, the United States of America, petitioner, vs. Motion Picture Patents Company, et al., defendants : record volume 5
Leaf #:
000222
Language:
English
Collection:
Early Cinema and Government & Law
Format:
Periodicals
Contributor:
The Museum of Modern Art Library, New York
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
These seven volumes contain the testimonies and supporting documents from the U.S. District Court's antitrust lawsuit against the Motion Picture Patents Company (MPPC). Formed in 1908, the MPPC (sometimes referred to asœ"the Edison Trust" or just "the Trust") sought to control the American film industry through pooling patents and demanding that producers and exhibitors acquire licenses to those patents. Independent producers and exhibitors, who refused to license the patents, argued that the MPPC was an unlawful monopoly. In 1912 and 1913, the U.S. District Court for the Eastern District of Pennsylvania heard testimonies from both MPPC members, such as Siegmund Lubin, and "Independents" who later became Hollywood moguls, such as William Fox. Ultimately, in 1915, the case reached the U.S. Supreme Court, which found the MPPC in violation of the Sherman Antitrust Act and spelled the end for the already weakening MPPC. -- Eric Hoyt, 2012
Date Added:
September 21, 2023
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2672 Frank Mi. Kexxey, Direct Examination. Q. How do the prices which you paid when you were taking the licensed service from the Lake Shore Film Supply Company compare with the price you are now paying for licensed service from the General Film Company? A. Why, taking everything into consideration, if anything, it is a little bit cheaper. Q. How do the programs compare in number of reels? A. Well, where I originally had two reels, that is, four changes a week, and eight reels a week, I now have twentyfive. Q. What did you pay when you had eight reels a week? A. Twenty-five dollars. Q. What do you pay for twenty-five reels now? A. Thirty-five dollars. Q. Have you observed whether or not the producers of licensed motion pictures are competing with one another in endeavoring to obtain favor with the exhibitors? A. Yes, sir, I have a bunch of mail every day from each one. Q. Do they send you circulars and letters, urging you to demand of your exchange certain prints of motion pictures? A. Yes, sir. Q. Certain subjects? A. Yes, sir. Q. Do the independent exchanges solicit your business from time to time? A. Yes, sir. Q. Do they offer you any inducement, either in the way of programs or prices? A. Well, not on prices, but they do on features in various ways. Q. You have used both the licensed and unlicensed service? A. Yes, sir. Q. How do you find the prices of the licensed and the unlicensed service compare with each other? A. Well, tli ere is not very much difference. Q. What projecting machine do you use in your theatre? A. The Edison. Q. Have you always used an Edison projecting machine? A. Yes, sir. Q. What was the name of the owner of the theatre which was in competition with you, and which was favored by the rental exchange? A. Why, it was owned by Mr. Kohl, of Kohl & Heintz. Q. Had Mr. Kohl, or any of his representatives, solicited you to take service from his exchange? A. Yes, sir.