Exhibitors Herald and Moving Picture World (Apr-Jun 1930)

Record Details:

Title:
Exhibitors Herald and Moving Picture World
Date:
Apr-Jun 1930
Volume:
Exhibitors Herald and Moving Picture World (Apr-Jun 1930)
Leaf #:
000220
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:
March 21, 2024
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52 Better Theatres Section April 12, 1930 --- The Show Must Go On ■ ■■■ The One Way To Be Sure That Your Sound Will Always Be of Highest Quality Is to Equip Your Theatre with AUDAK’S TUNED PICK. UP YOU receive ten “brickbats” to one “bouquet.” People don’t tell you how good your good points are . . . but they are unanimous in kicking when for any reason the show “falls down. This is simply human nature. When your sound becomes flat, distorted, unwelcome to the audience . . . when, much worse, there is freezing or utter collapse and the performance has to halt . . . it’s the pick-up of your sound system that has failed to make good. The pick-up is the neck in the acoustical bottle. Its quality alone determines whether or not you are going to bring customers back again and again, or whether they will shortly This guarantee tag protects you against the dangers of "just as good ", **the same thing as*', etc,, etc. refer to your theater as “not so good,” and quite politely change the subject. With the ELECTRO-CHROMATIC Pick-up, which interprets all the finest and most delicate chromatic shades in speech and in music, you can be sure of a high grade performance. More than this . . . with The TUNED Pick-up, which regulates your sound even as you regulate your watch, you can be sure of this high grade performance ALL THE TIME . . . regardless of climatic conditions or other external factors. It is significant that leading theaters and broadcasting stations now use the ELECTRO CHROMATIC Pick-up and our wonderful tuning principle as MUST equipment . . . would not dream of being without them! This means a lot to your pocketbook, Mr. Exhibitor. Investigate! The AUDAK COMPANY, 565 Fifth Avenue, New York ‘Creators of High Grade Electrical and Acoustical Equipment Since 1915’