Exhibitors Herald (Dec 1924-Mar 1925)

Record Details:

Title:
Exhibitors Herald
Date:
Dec 1924-Mar 1925
Volume:
Exhibitors Herald (Dec 1924-Mar 1925)
Leaf #:
000360
Language:
English
Collection:
Early Cinema and Hollywood Studio System
Format:
Periodicals
Contributor:
The Museum of Modern Art Library, New York
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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HEM'S WHAT ARTHUR MOST WmEIY BEAD EDITORIAL NOW IN ITS SIXTH MONTH-LYRIC THEATRE lOVE&ADVENTURE Today Betting, Not Investing. Who Made the Devil? A Mind Test. Education in Pictures. — By Arthur Brisbane — Copyright 1924. by StartCompany. A moving picture such as "The Iron Horse.” just produced by William Fox, showing the building of the first railroad across this continent, will do more to "Ameri-' canize” foreigners than any number of dreary sermons on the Constitution, and ‘TOO per cent Ameri-, canism ” l To see Lincoln walking in the.j White House corridors, to see live bison actually pursued by live Indians and men laying the Union Pacific tracks under the fire of bows and arrows, is real education. i THE IRON HORSE tells a dramatic story of LOVE, ADVENTURE, danger and thrills that accompanied the building of the great iron road upon which “iron horses’ ’ now travel puffing and steaming across this land from ocean to ocean. It is a story of danger, devotion, tragedy — crime punished, virtue and loyalty rewarded. It is a story that stirs the blood, makes moments pass like seconds, carries the looker-on, breathless, through the great scenes and the moving adventures that accompanied one of the greatest, most important enterprises and victories of the American nation. PROGRESS AND CIVILIZATION Intelligent Americans will see THE IRON HORSE more than once. Mothers and fathers will take their children to see it. Progress, civilization, courage are the basis of this magnificent moving picture play of real education. From the scene in Washington, with the tall, noble, sad, pathetic figure of the great Lincoln moving among the smaller statesmen, to the last triumphant ending, THE IRON HOI^E teaches this lesson: AMERICA OWES HER GREATNESS to the individual courage and devotion of the American man and woman, to the daring of great business kings, and above all to the fact that the people work and live TOGETHER CLOSELY UNITED. M Ilf o cJ WILLIAM FOX PR.ESENTATION FOX