Exhibitors Herald (Dec 1921 - Mar 1922)

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 #:
000292
Language:
English
Collection:
Early Cinema and Hollywood Studio System
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:
September 21, 2023
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CECIL B. DEMILLE'S productions are unique in motion picture history, in that every one of them has broken the records set by the preceding one. This producer has to his credit an unbroken list of tremendous boxoffice successes. But great as they are, they are only a few of the many great Paramount Pictures which, week after week, year after year, continue to build business and create prestige. Look at this list of pictures. No other company in the world can deliver such a reliable, uniform supply of really great productions: CECIL B. DEMILLE'S "The Affairs of Anatol" "THE SHEIK" with Agnes Ayres and Rudolph Valentino. A George Melford Production. WALLACE REID, GLORIA SWANSON and ELLIOTT DEXTER in "Don't Tell Everything" "GET RICH QUICK WALLINGFORD" Created by Cosmopolitan Productions ELSIE FERGUSON in "Footlights" BETTY COMPSON in "The Little Minister." A Penrhyn Stanlaws production. CECIL B. DEMILLE'S "Fool's Paradise" ELSIE FERGUSON and WALLACE REID in "Forever," a George Fitzmaurice Production. WILLIAM deMILLE'S "Miss Lulu Bett" with Lois Wilson, Milton Sills, Theodore Roberts and Helen Ferguson. GLORIA SWANSON in "The Great Moment" "BOOMERANG BILL" with Lionel Barry more. Created by Cosmopolitan Productions BETTY COMPSON in "The Law and the Woman" THOMAS MEIGHAN in "If You Believe It, It's So!" "BACK PAY" by Fannie Hurst Created by Cosmopolitan Productions WILLIAM S. HART in "White Oak" A William S. Hart Production "MORAN OF THE LADY LETTY" with Dorothy Dalton, a George Melford Production POLA NEGRI in "The Last Payment" "ONE GLORIOUS DAY" with Will Rogers and Lila Lee AGNES AYRES in "The Lane That Had No Turning" JACK HOLT in "The Call of the North" GLORIA SWANSON in "The Husband's Trademark" WALLACE REID in "Across the Continent" The exhibitor who wants success all the year round MUST show (paramount pictures