Exhibitors Herald and Moving Picture World (Jan-Mar 1928)

Record Details:

Title:
Exhibitors Herald and Moving Picture World
Date:
Jan-Mar 1928
Publisher:
[Chicago, Quigley publishing company]
Volume:
Exhibitors herald world
Leaf #:
000706
Language:
English
Subjects:
motion pictures, Motion pictures -- Periodicals
Collection:
Early Cinema and Hollywood Studio System
Format:
Periodicals
Contributor:
Library of Congress, MBRS, Moving Image Section
Sponsor:
Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division
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:
August 29, 2022
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14 EXfflBITORS HERALD and MOVING PICTURE WORLD February 25, 1928 mm NEW YORK.— Clififord B. Hawley, who runs First National, brings forth the news that only 85 per cent of the world's films are made in America. The old mark of 99 and 44/1 OO's still stands as a mark to shoot at. . . . UFA'S new Eastern exchange, under the management of Dave Brill, will descend into new offices at 729 Seventh avenue, as soon as the paint butchers are through mutilating the woodwork. . . . Charles Simone, who once did his best to raise a Fox in Italy but is now a vegetable farmer in Jersey, was looking over Broadway one day last week. . . . Hope Hampton is still doing her stuff in color. See "Love's Springtime," which brings up fond memories of "Marionettes," which was nothing more than a phantasmagoria de luxe. Hope speaks Frog, so she will get this right off the bat. . . . Many and fast are the happenings at the Pathe offices here in the Big Tent. Alany of the boys are wondering, "Where do we go from here?" and some are getting a chance to find out. . . . Nat Rothstein, premier advertising man for Universal, is leaving about March 1 with Mrs. Rothstein for an extended Southern trip. The full itinerary is not at hand but Nat will take a look at everything the cigar state has to offer from Fort Lauderdale to Palm Beach, Jacksonville to Key West. ... A. M. P. A. held their weekly luncheon at the Cafe Boulevard on Thursday. The subject under discussion was that rarin' business which takes place every year at one of the leading hostelries. The "Naked Truth Dinner" this year will be as undress as of yore, V in front and C in back. . . . Warner Brothers are getting ready to shake the dust of 1600 Broadway off their shoes and move into their new building — the Warner Brothers Building, if you don't mind — on 46th street. The "Exodust" will begin about the 21st. Five floors for the Bros. Warner. . . . Which reminds us, for no particular reason, that that very exclusive luncheon that was to have been given by the Vitaphone rooters at Park Chambers for the trade press is still a bit of a myth. Boys, it'll be all right to take a couple of breaths till the soup comes around. . . . The Paramount Short Feature Department held an eight or nine-course snack at the Astor recently for the advancement of "Krazy Kat" sales. Jim Milligan, of the E. H. and M. P. W., was among those present and from out of the fog reported that the Kat seemed pretty healthy to him. . . . One moemnt, it's the phone. "Where is Mary Miles Minter?" Darned if I know, but I've heard she's somewhere out West, close by that dear Aimee. . . . Corliss Palmer is in again. Her next is "Into the Night," with Raleigh. Hmmm, sounds interesting. . . . We are sorry to have to report that M. Frederic de la Roziere, of the Societe General de Films of France, is laid up with an infected jaw. Now that's a tough break, for he's here all full of talk about cooperation and friendship. Here's best wishes for a speedy recovery. . . . Apparently the Brookhart Bill is the fromage de brie of the industry. We notice that C. C. Pettijohn is turning up his nose at the mention of it. . . . Hy Daab, generalissimo of the F B O advertising department, has been reading "Polo" and the urge to do something about it has become so great he's off to Pinehurst. Daab says he can grab the Hy spots of this simple game in about six days. . . . Macfadden's "true stories" are reaching the picture stage. Things are going to be photon graphed just exactly as, when, and if they happen. Peter Stuyvesant. ABOVE — Jacqueline Logan and Albert Conti engaged conversationally in a scene from a Gold Bond comedydrama, "Stocks and Blondes." RIGHT — Director (and player) Ralph Ince (left), with Joe Brown, stage comedian and the star of "Crooks Can't Win," a corri' edy serving as his first picture. BELOW — Dudley Murphy (kneeling on camera carriage) directing Gertrude Astor in "Stocks and Blondes." To show, sans subtitle, her arrival home at dawn. Murphy shot the building full screen, then moved the camera from the bottle, causing the building to "fade" inside it, as her hand reached for it.