Exhibitors Herald (Apr-Jun 1922)

Record Details:

Title:
Exhibitors Herald
Date:
Apr-Jun 1922
Author:
Exhibitors Herald Co.
Publisher:
Chicago, Exhibitors Herald
Volume:
Exhibitors Herald (Apr-Jun 1922)
Leaf #:
000749
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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ay 20. 1922 EXHIBITORS HERALD A» suggested in this department prior to publication of th; picture, Edward L. Hyman, Brooklyn Strand theatre, repro. ced a scene from "Smilin' Through" as presentation for that feature. Two actors were employed, the girl singing the ng of the same title at the man's entrance, a delicate bit of pantomime completing the prologue. The stills show two riods in the presentation's enactment. 'Smilin' Through" "Theatre Feature is published. "Smilin' Now and then a "theatre feature" rough" is one of these. rf'i'riEATRE feature" is a term manufactured to designate that type of photoplay which accomplishes more than fc making of money and the filling of neglected auditoriums. ::onrplishing these essential ends none the less effectively Icause incidentally. ■ This type of feature leaves an impression with theatre■ers, an impression by which the theatre benefits permarntly. Respect for the screen, for the theatre and for picture jople generally, is the direct outgrowth of this impression. . time passes this is translated variously in terms of freedom i m criticism, expansion of screen appeal, industrial prestige ;d a general elevation of estate. By newspaper editorial, review and story "Smilin" ■rough" has been set apart from mass pictures of the day. Jwill effect in its theatre career benefits to all identified Vth motion pictures. Since only two persons were employed in the Brooklyn Strand prologue it serves as a model for showmen everywhere who will use the attraction. It is economically and artistically sound. "Smilin" Through" was used by the New York Strand to celebrate its Eighth Anniversary. A scene from the picture was 'lowed in making up the setting. "Love's Old Sweet Song" and "Smilin' Through" were the musical numbers featured. ■ cast in keeping with the occasion was employed. Pantomine and stereoptican projection of "vision" stuff figured in the ■' ion.