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 #:
000231
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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Edward M. Smith, Direct Examination. 2681 and give their seating capacities? A. The Original Vaudette, 2G0; the Orpheum, 1087, rims part licensed and part unlicensed, the Idea Theatre, about 2G0, does the same. Q. Now, to make it perfectly clear on the record, I will ask you how man}' additional licensed houses are there in Grand Rapids? A. There are none. Q. And how many additional unlicensed houses, did you say? A. There's 17 houses up there all told, I think. They are going up so fast lately — there are eight that are independent. Q. In addition to the ones that you operate? A. Yes, sir. Q. Do you know the seating capacity of those eight? A. I don't know exactly; no, sir. Q. Now, Mr. Smith, during the years that you have been a resident of Grand Rapids, have you been familiar with the prices of licensed picture service to exhibitors from exchanges, both from exchanges dealing in licensed, and exchanges dealing in unlicensed pictures? A. I have. Q. How do the prices of the unlicensed exchanges in furnishing a program to the exhibitors, compare with the prices of licensed exchanges furnishing programs of motion pictures to the exhibitors? A. Why, considering the number of reels furnished, the prices are approximately the same. Q. Do the independent exchanges furnish you with a complete program for the theatres which use the independent service? A. Why, a portion of the time. Their programs are a little more unreliable. They attempt to furnish them. Q. Is that a matter of business detail, or a matter of production? A. I think perhaps it is a matter more of business detail than anything else. Q. From what licensed rental exchange are you nowtaking licensed service? A. Detroit branch of the General Film Company. Q. From what licensed rental exchange were you taking licensed service before 1910? A. Well, I took of the Vandette Film Exchange of Grand Rapids. Q. At tin4 time you were taking licensed service, before you began taking licensed service from the General Film Company, did you find it possible to advertise a program in advance? A. No, sir.