Exhibitors Herald (Dec 1921 - Mar 1922)

Page scan 00012 from Exhibitors Herald

Record Details:

Title:
Exhibitors Herald
Date:
Dec 1921 - Mar 1922
Author:
Exhibitors Herald Co.
Publisher:
Chicago, Exhibitors Herald
Volume:
Exhibitors Herald (Dec 1921-Mar 1922)
Leaf #:
00012
Language:
English
Collection:
Hollywood Studio System and Early Cinema
Format:
Periodicals
Contributor:
Media History Digital Library
Sponsor:
Media History Digital Library
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:
July 25, 2024
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EXHIBITORS -HERALD December 31, 1921 Dhe SxfiiBitofs Dollar M r To the actual the 'producer"^ ploys the 1 operates the ' n Company \ creator trjpjouduon w force Jiow is It Split? txuMTrf\ Orncu Br.*J-... R Atlawta . . . 146 M. Bo*TO* 19 rVdnwni Bittaia 2S7 Frukun | ■ i m-oi. 60? Fil/n Fuhasc* Hl.lr OuCACO ... I South «-.i.,.h An Um3Jt*«ti . . . fW**r Si tad Bro*d«>T Dauai 1113^ Comra ! 0m 17M Br«H-«, t>wnan ... 14,1 Ea.i wiM B Film BMp . 1 7ih and Maio Su Kama* Gtt RM Soulh Olive St. U» AfwfXM 16 North Fourth St. Minmu^h '29 Ivvrnih Airnut N«.w You Cm 1 235 V'io* St. > Piiii.*uclitiu 1201 Liberty Ave Prrr*«u»xu 2W Turk St. Saw fhMOMO 2024 Third A»# Sum* 3617 TuhmiioD Am ... St. Lolts MS ThirtM-nth St.. N. W. Wamhncto* EXHIBITORS are showing exceptional interest in the method of operation of Wid Gunning, Inc. I don't blame them. It's about time tbe exhibitor began to ask, "Where does the dollar I pay for film rental go ? How is it divided in New York ?" It is a vitally important question — for, as sure as black is black and white is white, where that dollar is wasted, where it is diverted from those who rightfully earn it — sincere, constructive business methods are barred at the threshold of the picture industry, creative, enthusiastic, ambitious production ideals are KILLED. That is as eternally true as gospel. Read it over again and let it sink in deep. Three months ago I could have answered the exhibitor's query about his dollar without a second's hesitation. "Seventy cents of your dollar," I could have told Frank Rembusch, for example, "goes to a lot of swivel chair warmers in New York who have no harder work to do than Le-Paging themselves to their titles. About fifteen cents more goes to actually pay the sales force. The other fifteen cents goes to the actual creator of the film you are showing — and this poor individual is probably being pursued day and night by his banker because it is so much trouble to get money out of a distributor that no producer can ever stay on the same side of the street with his banker. "The producer can't even claim independence and works with the enthusiasm of a sweatshop laborer being scared to death he might put into his task a new idea which he would prefer to save for the day when he will be producing independently." That is the answer I could have given three months ago. In sum and substance I could have said— Your dollar does every thing but encourage the creator of better motion pictures everything but foster more efficient operation, everything but inspire real showmanship brains. And you know it I