We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
54
EXHIBITORS HERALD
February 4, 1922
"The Signature Sticks"
As sure as "The Flavor Lasts" the signature, any signature that you see frequently enough, "sticks." And American citizens are going to see the signature of Nazimova, star of United Artists' "A Doll's House," so frequently that they will never forget it.
United Artists, always in advance of the vanguard where poster making is concerned, is featuring the star's
signature in all its paper. The 24sheet is shown above. It is characteristic of the entire assortment, although the 1-sheet shows Nazimova in scenes from the play, the 3's show her in character and the 6's include another member of the cast.
Altogether, it is stated, the paper constitutes a very brief but complete resume of the story. With the signa
ture dominating every phase of the billboard campaign it is apparent that a comprehensive billing will wield pronounced box office influence.
Readers will recall the five-word paper prepared by this concern for "The Nut." Also the cutout paper for "Through the Back Door."
The Nazimova paper is a worthy companion piece.
The Traffic in Traffic
The traffic in traffic has increased to such proportions during the past big year of exploitation that we may expect a tirade against it from a professional reformer at almost any moment, despite the fact that its worst result has been commendable dissemination on a large scale of amusement news of interest to all.
The street car idea is perennial. It is most recently reported from Indianapolis, Ind., where it was applied by the Alhambra theatre to the exploitation of the Gunning picture, "What Do Men Want ?" The illustration shows the car that toured the entire street railway system, bringing up at the theatre itself as often as possible and remaining as long as conditions permitted.
Ideas arc like men in that it's hard to keep a good one down. In the his
tory of this department pictures of street cars advertising everything from a one reel comedy (Toonerville) to a ten reel special ( Anatol) have been presented. And the end is not yet in
sight. All of which is but further testimony to the well established claim that the cream of America's active advertisers are advertising motion pictures.