Exhibitors Herald (1925)

Page scan 000252 from Exhibitors Herald

Record Details:

Title:
Exhibitors Herald
Date:
1925
Volume:
Exhibitors Herald (Jun-Sep 1925)
Leaf #:
000252
Language:
English
Collection:
Hollywood Studio System and Early Cinema
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:
July 25, 2024
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36 EXHIBITORS HERALD July 4, 1925 Dal Clawson, technical director of First National’s Singapore drama, “The Half Way Girl,” is telling Director J. F. Dillon the king of Siam gave him this cane for his courage in entering the royal presence coatless. When Antonio Melian, Count de Peracamps, dropped in at Los Angeles, Reginald Barker, Fox director, chaperoned him. Count de Peracamps is president of Films Espanosa. Left to right are shown Enrique Lopez-Mana, the count’s secretary; Reginald Barker, Count de Peracamps and W. F. Dunphy, his business manager. Universal’s “See America First” unit brought crowds to the curb in San Francisco. The sign over the mobile studio explains the tieup for the taking of scenes of the Golden Gate city for Carl Laemmle’s pictorial history of the United States, which “Doc” Hollah is taking in key cities. Bijou Fernandez is shown inspecting photographs and applications of young aspirants to the Paramount school for screen actors. Tom Terriss will direct a picture in which the best pupils will appear. Rafael Sabatini, author of the novel from which “Captain Blood” was screened, cherishes this model from which the ship Arabella was made. Vitagraph sent him the model which graces his study in London, where the picture is showing. Belisario Diaz (seated) has just backed up his recently renewed contract by erecting this huge Paramount sign in a square of Cartagena. Diaz has charge of distribution of Famous Players pictures in Columbia. C. C. Margon is manager of the new Paramount office at Cristobal, Canal Zone.