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 #:
000428
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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58 EXHIBITORS HERALD January 28, 1922 Suggestions in the Stills it * "White Hands" (Contributed by Wid Gunning, Inc.) These stills are of "White Hands," a Max Graf production, published by Wid Gunning, Inc., written by C. Gardner Sullivan and directed by Lambert Hillyer. The scenes shown, here are laid in a dance hall in a North-African seacoast town, and the picturesque costumes and barbarous atmosphere are easily copied from the stills, and should prove mighty effective. A solo dance prologue, to music with Oriental color, like Rimsky-Korsakoff's "Sheherezade Suite," would be attractive and prepare the scene for the picture to follow. If a more elaborate prologue were wanted, several of the other characters, besides the native dancer, could be ranged about the stage, which should be dimmed, with the spot-light on the dancer. Most of the stills demonstrate what dramatic use can be made of a darkened stage, with a spot of light in only one place. An imitation of the large Oriental lamp shown in the still can be made, and by its feeble light can be shown the players, one after the other — the two men and the girl they both want — one man can be shown working himself into a fury with drink — the other craftily fingering his dagger — the girl dancing — the insult, and the fight between the two men. Then the stage should be entirely darkened, and the picture started.