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 #:
0001273
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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June 24, 1922 EXHIBITORS HERALD 85 ILLUSTRATING A SUGGESTION IN STORY HEREWITH ONE OF THE BIG SCENES IN "ONE CLEAR CALL" SUGGESTED AS BASIS FOR SPECTACULAR STREET EXPLOITATION OF THE PICTURE "One Clear Call" (Continued from page S3) and hotel with a view to eliminating it from civic life. Their conclave and ghostly array forms one of the climatic thrills of the picture and can be pointed to as a real talking There is always the danger that the tall, thin man will select a heavily striped suit that will only accentuate his leanness. Consequently the suggestions made for capitalizing the incidents of the Ku Klux Klan in John M. Stahl's next First National attraction, "One Clear Call," are subject to local conditions which must determine which angle of approach is best adapted to that community according to existing sentiment. Certainly the appearance of the night riders in the picture is a vivid, realistic bit of work. How and to what extent this should be utilized in the exploitation is a matter of which the local manager is always the best judge. The Klansmen make a raid or. a disreputable bar SEE STORY FOR SUGGESTION BASED ON THIS STILL point, as the accompanying still indicates. The idea can be worked out in street ballvhoos, lobbv decorations and handbills. For street ballyhoo the white shrouded man on horseback with a sign : "I am not a real Klansman. I am only answering One Clear Call to go to the Theatre," is one angle. The sentiment in some sections makes it imperative to have the ballyhoo artist distinguish himself from the real Klansmen. Friends of the Klan might otherwise resent an impersonation while enemies would be antagonistic on general principles and send the ballyhoo artist back to the theatre as a corpus delictu. For lobby decorations just the white hood and cap suspended in the air with the sign : "The Klansmen will be here tonight answering ONE CLEAR CALL." This can be strengthened with red crosses painted on shields posted around the lobby. A smouldering fire, as the signal beacon for the klan, can burn in the lobbv. (Continued A PICTURESQUE CHARACTER USEFUL IN ADVERTISING LOUIS B. MAYER. PRODUCER. JOHN M. STAHL, DIRECTOR AND GROUP OF PRINCIPALS IN THE CAST OF "ONE CLEAR CALL"