Motion Picture Herald (Oct-Dec 1931)

Record Details:

Title:
Motion Picture Herald
Date:
Oct-Dec 1931
Publisher:
[New York, N.Y. : Quigley Pub. Co.]
Volume:
Motion Picture Herald (Oct-Dec 1931)
Leaf #:
000393
Language:
English
Subjects:
motion pictures, Motion pictures -- Periodicals
Collection:
Hollywood Studio System
Format:
Periodicals
Contributor:
Library of Congress, MBRS, Moving Image Section
Sponsor:
Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division
Coordinator:
Media History Digital Library
Description:
Founded in 1915 by a Chicago printing company as a regional trade paper for Midwest exhibitors. In 1916, editor Martin Quigley bought out the owners, and over the next 15 years, he grew EXHIBITORS HERALD into one of the most important national, weekly trade papers in the film business. Quigley acquired MOTOGRAPHY in 1917 and MOVING PICTURE WORLD in 1927. In 1930, he acquired MOTION PICTURE NEWS and the new 'consolidated' publication became MOTION PICTURE HERALD. From the pulpit of his editorial page, Quigley preached the need to improve the motion picture industry and improve the quality of the films. He skillfully served as a mediator in disputes -- between distributors and exhibitors, between the film industry and the Catholic Church (Quigley was one of the architects of the Production Code). Quigley claimed that EXHIBITORS HERALD represented the 'independent exhibitor' and sections like 'What the Picture Did for Me?' certainly provided a forum for theater owners. But plenty of exhibitors viewed Quigley as a servant to the studios and large theater chains. In response, publications such as SHOWMEN'S TRADE REVIEW, INDEPENDENT EXHIBITORS FILM BULLETIN, HARRISON'S REPORTS, and BOX OFFICE were either formed or grew significantly in the years following Quigley's brief moment of consolidation in 1930. -- Eric Hoyt, 2014
Date Added:
November 10, 2022
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October 24. 1931 Motion Picture Herald TECHNICAL ASPECTS OF MODERN DESIGN Picturing in a new way the "architecture" of a theatre — the ultra-modernized Earl Carroll in New York City IN this and the -following two pages we see the dynamic feeling for the materials of architecture reflected in Earl Carroll's new home for his revues — but with the camera focussed upon those features of the design that represenlthe modern theatre's true organic structure. Here are the aesthetic values propounded by the interesting Austrian, George Keister, and the architectural efficiency contrived by Thomas W. Lamb — but the lens has pointed out those fundamental contributions of the modern theatre engineer. For example, the top view: The console of the "light organ," a pre-set dimmer control system based on today's science of electronics and permitting lighting control from in front of the stage (as Earl Carroll himself demonstrates with some pulchritudinous assistance). The center view shows the immense auditorium seating 3,000, and it is possible to see at the stage apron the trap out of which rises the microphone shown at right — part of the Western Electric address and amplification system distributed throughout the house, this "mike" being used for specialty numbers and combined effects that may be reproduced on and off the stage.