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 #:
000294
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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2744 Adolph Powell, Cross Examination. Q. Do you select your pictures? A. Yes, sir. Q. How do the prices you were paying for a program for the Ideal Theatre from the American Film Service Exchange compare with the prices you were paying for a program for the same theatre to the General Film Company? A. The same. Q. There was no change? A. There was no change. Q. No change in the service or number of reels? A. Well, at that time we were running three reels, and now we are running four. Q. And do you still pay the same price? A. Yes, sir. Q. Although you have thirty-three and a third per cent, more reels? A. Yes, sir. Q. What projecting machine did you use in the Ideal and May Theatres? A. The Motiograph. Q. Have you used a Motiograph altogether during the years you have been in business? A. Yes, sir. Q. Do the independent exchanges through their representatives solicit your business from time to time? A. Yes, sir, they have at times. Q. Do they offer you any inducements in the way of program or prices? A. Nothing better in prices. Q. Do they offer you a complete program? A. Well, such as they can offer. Cross examination by Mr. Grosvexor: Q. Mr. Powell, the pictures which you displayed at Kokomo were shipped to you at Kokomo from Chicago? A. Yes, sir. Q. And then when you were through with them there did you ship them back to Chicago? A. Yes, sir. Q. I believe I understood you to say, Mr. Powell, that before the General Film Company was organized there were four theatres in Kokomo? A. Yes, sir. Q. And that the four owners of the theatres were able to arrive at a satisfactory arrangement between you whereby the pictures that were produced every day were divided among you, so that there was no conflict between you, ami you could advertise to your customers and patrons the pictures which you were going to display? A. Yes, sir. Q. And that was before the General Film Company was