Exhibitor's Trade Review (Nov 1924 - Feb 1925)

Record Details:

Title:
Exhibitor's Trade Review
Date:
Nov 1924 - Feb 1925
Publisher:
New York, Exhibitor's trade review, inc.
Volume:
Exhibitor's Trade Review (Nov 1924-Feb 1925)
Leaf #:
000466
Language:
English
Collection:
Hollywood Studio System and Early Cinema
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:
In late-1916, Exhibitor's Trade Review entered a crowded market of weekly motion picture trade publications that already included the Moving Picture World, Motion Picture News, Exhibitor's Herald, and Motography, along with theatre and vaudeville-oriented papers that covered film, such as Variety, the Billboard, and the New York Clipper. To gain market share and differentiate itself from competitors, Exhibitor's Trade Review pursued a variety of tactics -- some constructive (gathering allies among exhibitor organizations), others destructive (smearing the reputations of competing trade papers and certain film companies that refused to buy advertising). Despite the behind-the-scenes controversies, though, Exhibitor's Trade Review appears to have, in the words of Alan Gevinson, 'established itself legitimately in its role as advisor to and fighter for the independent exhibitor.' All the issues that mattered to independent exhibitors were covered, including censorship, taxes, distributor contracts, piano accompaniment, and, of course, the films. In 1926, Exhibitor's Trade Review ceased weekly publication and only offered the daily service, Exhibitor's Daily, which was acquired a few years later by Martin Quigley as he attempted to consolidate the industry's trade papers under his control. -- Eric Hoyt, 2014
Date Added:
September 21, 2023
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Page 144 National Tie-Up Section Quick Money and Quick Action Exhibitors Trade Review Long Profits in Short Subjects for Showmen Who Show Them EVERY short subject shown in your theatre should be boosted with one hundred percent exploitation. And every one of them is wide open for you to give full expression to your showmanship genius. Do so and you'll ring the box-office bell. age. The window tie-ups that you arrange for your underglass advertising campaign largely upon the type of picture that you play. If you are showing one of the Century Comedies featuring Wanda Wiley or Edna Marian your tie-ups will diifer from, those available for a short feature showing Eddie Gordan or Al Alt. In many of these stories there are beautiful girls, and wherever there are stills of beautiful girls you may arrange tieups with all sorts of articles designed for feminine use. For instance, hairnets, cosmetics, perfume, hosiery, lingerie, dresses, milinery and a thousand other things. When you show two-reel Universal Westerns you may always tie-up with merchants handling such products as "Stetson" Hats 'Winchester" riflles, "Colt" revolvers, "Fownes" gloves, "GGG" clothes, the drug products of McKesson & Robbins, Inc., "Thermo" One of many typical stills from Universal's "Seein' Red." Such scenes are guaranteed to stop passersby before any windows where they are displayed and will bring increased patronage for all. Brevity, tis said, is the soul of wit. Lengthy pictures are often tiring. But these snappy one reel comedies and two reel Westerns hit the nail right on the head for whirlwind merriment or wild, daring, thrilling action. If it is a comedy you are showing, pick the funniest situations and build your exploitation campaign around them. If there is some outstanding ludicrous character use it in a ballyhoo. Select comedy catch lines for your advertising copy. Stage a permanent contest in connection with the newspaper for the best joke or the funniest situation described by the readers. The prize will be a free pass to the next comedy showing. Get the kids to work for you. Organize a "Kid's Komedy Klub." Make it a local institution. Run special matinees for them on Saturday mornings or an early show on Friday night. Scale down a bit on prices for Klub members (regular attendants). Offer small prizes for different stunts. Offer a "prize package" with every kid ticket. Do everything you can to build your popularity with the youngsters. They'll gladly work for you in distributing throwaways and otherwise publicizing your show. And they'll see to it that when Ma and Pa go to the pictures it is your theatre that receives the patron sport coats, "Garcia Grande" cigars, "Sterno" canned heat, "Autostrop" safety razors, and other products according to the story depicted. TTERE again you can utilize the kids A J in a bally. Get a bunch of them and dress them up with bandanas and Western hats. These are to be your permanent property, but every Saturday the kids are to wear them and parade with appropriate signs as to what is doing at your playhouse. The same regalia may be utilized to lend an air of the "great open spaces" to your ushers. To attract further attention dress up several men and women in Western regalia, and have them either ride on horses or old prairie schooners, open of course, so that passersby can see them. Have an old donkey led through the streets by a sad-looking cow-boy specimen. The donkey can have an imitation pack on its back. This pack can be used for your reading material and through the use of the donkey a great deal of attention can be directed toward the advertising of your house. Dress the front of your house with Western paraphernalia, lariats and other commodities, all know they are from the West only. Where you can give a short history of each saddle, stirrups, etc., do so. This will hold the attention of people who are passing and will arouse curiositv as to vour show. Such ludicrous scenes are the rule in Universal's two-reel Comedies. This particular bit of action is from Universal's "Politics," a sure fire laugh winner.