Exhibitors Herald (Dec 1924-Mar 1925)

Record Details:

Title:
Exhibitors Herald
Date:
Dec 1924-Mar 1925
Volume:
Exhibitors Herald (Dec 1924-Mar 1925)
Leaf #:
0001219
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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is sure: they h^ve been turning out a lot of mighty good box-office bets. And it’s the why and how of this., Which interests us a lot. Back of the scenery you learn a lot. About this. You find Louis B. Mayer watching production. As a business man. Not interested in art pictures. Only interested in what the box-office wants. And doesn’t hesitate to say so. He has box office record charts. Before him all the time. And keeps them there. The artistic scenarios and doodabs. He leaves to his aides. Gives Harry Rapf and Irving Thalberg full swing. The latter says: “Sometimes I think L. B is working for me; not me for him.” Nothing describes the state of affairs better. And these production chiefs work day and night. Never quit. Studio all day. Preview at night. Something like 17 directors to provide material with. Considering they have Neilan and von Stroheim to handle. Count these as a few more. They need lots of attention. But they are turning' out mighty ; attractive pictures. And the result has inspired the entire organization. Even the big chiefs. Back in NewYork. Even Marcus Loew. So much so. That they are preparing for the coming season. With such vim; such enthusiasm. That a word of warning might be offered. To other concerns. Keep an eye on Metro. Better still. Keep two eyes on Metro. FJLM DAILY, WEDNESDAY, FED 25. 1925 Really Great Pictures Dominance Has Made Member Motion Picture Producers and Distributors of America, Inc. — Will H. Hays, President