The educational screen (c1922-c1956])

February, 1943 Page 53 MOTION PICTURES- NOT FOR THEATRES Part 44.—Interesting iorms oi non- theatrical distribution devised and tested over the years, and some re- lated problems in difiicult markets. By ARTHUR EDWIN KROWS THE first iion-thcatrical regional sta- tions of supply were, of course, the theatrical exchanges which conduct- ed a side service for those who wished to obtain films away from the play- houses. The average number of such exchanges in a single distribution cir- cuit in the pre-First World War period was perhaps twenty-five subsequently expanding to about forty. The the- atrically recognized centers, commonly called "key cities," included as they do now, New York, Boston, Philadelphia, Washington, Pittsburgh, Indianapolis, Cleveland, Detroit, Chicago, Cincinnati, St. Louis, Kansas City, Memphis, At- lanta, Charlotte, New Orleans, Dallas, Denver, Salt Lake City, Des Moines, Omaha, Los .^llgeles, San Francisco. Minneapolis, Butte, Seattle and Port- land, Oregon. Other cities of later prominence in the sj-stem, are Albany, New York; Birmingham, Alabama: Buffalo, New York; Charleston, West Virginia; Houston, Texas; Jackson- ville, Florida; Little Rock, Arkansas; Louisville, Kentucky; Milwaukee, Wis- consin ; New Haven, Connecticut; Ok- lahoma City, Oklahoma; Portland. Maine; San Antonio, Texas; Siou.\ Falls, South Dakota; and Tampa. Florida. For some years in the beginning, each major distribution combine main- tained its own set of exchanges, caus- ing a highly wasteful competition in areas which required comparatively little service; but this was corrected presently by trade agreements and pooled facilities. The General Film story, in its non-theatrical aspects, has already been told. To George Kleine, his pioneer work with Urban and Edi- son productions, and his prolonged devotion to the cause of films in churches and schools, the non-the- atrical field can never sufficiently re- pay its debt. Lubin, George Spoor, Selig and the Vitagraph, Kalem and Gaumont groups, all generously served the non-theatrical applicants of their time. It is difficult to recall one producing or distributing firm of the early days which did not. Carl Laemmle of Uni- versal had an unwavering interest in their encouragement, and Universal still has an active non-theatrical department, headed by Herman Stern. Paramount, started about 1915, has always done a large business in the line, even if the profits have been negligible. William Fox not only made his productions available to the field within reason, and sought Iiracticable ways and means to de- velop it, but he made it a standing rule of his company that any rabbi, priest or clergyman should have any available Fox film free of charge at any time for showing in any syna- gogue, church or Sunday School, any hospital, orphan asylum or home for the aged. The participation of Earle Hammons and his Educational Film Corporation, and Hugo Reisenfeld and the Red Seal Exchange, have been mentioned. The Pathe Exchanges were active non-thcatrically and continuously over the longest period of years. When the visual education movement blossomed, .'\. H. Sawtell commanded the Pathe service from the headquarters in New York City, and cooperated extensively with school systems, notably in their tests in teaching current events with newsreels. His successor, as I recall, was Charles Mills, a minister's son who had been head of the visual edu- cation department of the Kansas City schools. When the heavy business re- organization of Pathe occurred and Jeremiah Milbank became the power there, Mrs. Elizabeth Richey Dessez took charge of the division. In an elab- orate campaign to develop it, she ap- pointed various sub-officers in the principal exchanges. One of these assistants, known for conspicuous en- ergy and accomplishment in Kansas City, Chicago and elsewhere, was Miss Evelyn Baker, today advertising man- ager of Educational Screen. The objection most frequently raised to non-theatrical distribution through regular theatrical exchanges is that the booking arrangements there are too inconvenient. For one thing it is alleged to be a mere side activity. Then, one must go to a different ex- change for nearly every picture de- sired. Beside, the critics say, one often has to accept alternates, while possible rental periods are usually too short. Then there is the generally higher rental. The usual library of the col- lege extension or social service bureau, on the other hand, is more frequently supported by funds not of its own direct earning, and its fees are cor- respondingly lower. Please understand that I am merely presenting a prevail- ing point of view in this paragraph. I do not stand back of these particular observations as final statements of the case. The 1919-1920 decentralization of the Government film supply of the U. S. Bureau of Education, made non-the- atrical exchanges of thirty-five State departments of education, universities, colleges, schools and museums. When the Eastman Kodak Company began its library, it had approximately fifty stores through which to distribute. And De Vry, Victor, Bell & Howell and other projector manufacturers had their own branch offices through which to serve their similar needs. These "branches," however, are not always dominated by the "home office." Com- paring the lists, one discovers the names of many non-theatrical produc- ing firms, film processing laboratories and, above all, stores dealing in mis- cellaneous optical goods and photo- graphic supplies. In other words, most of these places have merely "taken on" the work of being local representatives, generally with protective agreements whidi give them exclusive rights in their own geographical areas. The number of active non-theatrical "ex- changes" of this type is, according to my actual count of their listings, about three hundred in the United States and Canada, fifteen being in Canada. Large industrial companies, with their "free" films, have tried using their own branch offices to serve local areas, but the branch staffs rarely know anything sufficiently well about film handling, and generally have no proper equipment for inspection and repair. They are usually expected, however, to arrange shows where pos- sible, to obtain the reels as required Courtesy DeVry A "theatre on wheels" used in World War No. 2 to entertain U.S. troops in Australia. It is operated by the Methodist Home Missions, employing DeVry sound projection equipment.