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 #:
000501
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
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

Hay 3, 1930 EXHIBITORS HERALD-WORLD 27 PICTORIAL SECTION Citizens of Warner Brothers’ own Tin Pan Alley — (seated) Eddie Ward, Joe Burke, Sidney D. Mitchell, Otto Harbach, Archie Gottler, George Meyer, Jerome Kern, Bobby Dolan, Walter O’Keefe, (standing) A1 Bryan, Lou Silvers, Sigmund Romberg, Erno Rapee, Robert Crawford, Leo Forbstein, Bud Green, Oscar Hammerstein II, Sam H. Stept and Arthur Franklin. Just to get one of those striking bits of photography which make the cinema the unique art it is. This scaffolding was erected merely to achieve a shot from 30 feet above the floor, of a scene for Warner Brothers’ “Three Faces East.” Director Roy Del Ruth and Cameraman Chick McGill are shown on the structure. No newcomer to Hollywood, but meriting an official reception just the same. Samuel Goldwyn is shown greeting Florenz Ziegfeld, Mrs. Ziegfeld (Billie Burke) and their daughter, Patricia, on their arrival in studioland, where Goldwyn and Ziegfeld are producing the Ziegfeld stage musicomedy, “Whoopee,” starring Eddie Cantor, for United Artists release. Why she won. Clara Beranger, well known scenarist, with the 129pound marlin swordfish she caught, which being the largest specimen caught by a woman this season, won her the Southern California Tuna Club trophy. She was accompanied by her husband, William C. deMille, M G M director, when she caught it.