Exhibitor's Trade Review (Mar-May 1924)

Page scan 0008 from Exhibitor's Trade Review

Record Details:

Title:
Exhibitor's Trade Review
Date:
Mar-May 1924
Publisher:
New York, Exhibitor's trade review, inc.
Volume:
Exhibitor's Trade Review (Mar-May 1924)
Leaf #:
0008
Language:
English
Collection:
Early Cinema and 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:
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:
July 25, 2024
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TI Exhibitors Trade Review The Rxhibitofs Mornings OW DO YOU spend your mornings, Mr. Exhibitor? Do you kill time around your ©ffice under the stairs waiting for box-office time to arrive and the carbons to begin purring in the projection booth over your head? Or are you bookingfilms so rich in exploitation stunts that every forenoon is a sporting challenge — finding out how many of those exploitation stunts you can launch to a clean-up, bringing in the patrons at 2:15 o'clock? The first thought that hops in my head when I have a plot is: What can the Exhibitor do with It? Is it rich in exploitation material? Does it lend itself to startling lobby display, local tie-ups, stunning street stuff, newspaper ads that leap from the page?' I did it in ^^Ladies to Boardy^ Tom Mix's new picture. I did it in "Tormenty^ just finished by Maurice Tourneur. I did it in ^'Courtin^ Calamity y'' which brings Hoot Gibson to the front as a star of the first magnitude. I've done it in "Afor«/ Dynamite!'^ and ^'The Fair Unknown''* and ^^Riot!" and ^'The Stolen Lady!'* Look at the business done by my story, "The Shock,* Ton Chaney's earthquake picture — something like 4,000 bookings to date! I'm not making work for you, Mr. Exhibitor. I'm trying to take it away. When you book my pictures you'll get films that make your mornings a joy because the material is there to work with. You don't have to scratch the old head and do a lot of cussing trying to make exploitation stuff out of film stories as dry of material as King Tut's mummy. The time is not far distant when you're going to hunt through your daily deluge of advertising matter for press-sheets proclaiming a new PEI^LEY story ready for booking. That magic line: "Story by William Dudley Pelley** is going to turn your mornings into money. I'm spending thousands of dollars to convince you of it. And when you've booked one of my pictures you're going to find a different story — startling in its theme, originality and treatment.