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 #:
000330
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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44 EXHIBITORS HERALD January 21, 1922 "Doris May Trail" Leads Seattle to "Foolish Age" Gas filling' stations and street corners were fitted out with "Doris May Trail" signs which led to the Blue Mouse theatre during the week before Christinas. At that playhouse R-C Pictures' "The Foolish Age" did good business in that very bad period. Other interesting stunts used by Jimmie Carrier, directing the campaign, aided in bringing about that end. School children were given blanks which they presented to ten adults, informing them of the picture's showing and getting their names and addresses. These were redeemed at the theatre with an admission ticket. A list of 60,000 signatures was obtained. Keys were "lost" and finders informed that Doris May would give a reward for their return to 1421 Fifth Avenue, the theatre address. Of 150 keys lost 130 were returned. Check showed that their finders brought many friends to the theatre. Another stunt, less advisable than effective, led to active sale of tickets by clubs and other organizations on percentage. The latter part of that idea is good and worthy of adaptation. Illustrations herewith show two phases of the campaign, one of the most thorough reported for the production and one of the most successful. Both are of such a nature as to render adoption by other showmen using the picture a matter of little difficulty.