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 #:
000238
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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2688 Glenn A. Cross, Direct Examination. Company, did you find it possible to advertise a program in advance? A. Yes, sir. Q. What was your experience with respect to this question of program after you began taking service from the General Film Company? A. I now advertise some of my program as far as a month in advance. The General Film Company at the Detroit branch have what is known as the schedule booking of a film or films. I take a current magazine, say the Motion Picture World, and from their list, if I can find the release date of that film, I can tell the exact date when I will receive that film. Q. And do you base your advertising accordingly? A. I base my advertising accordingly, yes, sir. Q. During the period you have been in the moving picture exhibition business, have you been familiar with the prices of complete programs to theatres? A. I have, sir. Q. How do the prices of complete programs to theatres which were charged in 1909 and 1910, compare with the prices for complete programs now charged by the General Film Company? A. Personally I see very little difference when you take in consideration the number of reels and the length of time that you use the reels. I was using at that time 14 reels, and was paying $45.00 and $ 50.00 for them. At the present time, I am using 21 reels, and paying 65.00 and $70.00. Q. How do the prices of complete programs quoted you by the independent exchanges compare with the prices for complete programs quoted you by the licensed exchanges? A. Exactly the same, except there will be an increase in my price of $5.00 in the Universal service; that is, starting the 1st of April, I will pay $75.00 for a Universal, 21 reels, and $70.00 for the General. Q. Do the independent exchanges supply you with a complete program for a theatre? A. They do, once a week. Q. Do you ever make requests of the General Film Company for changes in your program, or for certain motion pictures that you deem desirable? A. Frequently. Q. Do they grant these requests? A. Yes, sir. Q. Do you find the General Film Company willing to cooperate with you in arranging a satisfactory program? A. Always, sir.