A history of the movies (1931)

Record Details:

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.

LIVING PICTURES AND PEEP SHOWS 27 chairs, screen, and a batch of unused tickets, so that all the prospective tenant needed to make a theater owner of himself was to rent a projection machine and a mechanical piano. The clothing man's business experience had been limited to retail shops, where it had always been necessary to "wrap something up for the customer to carry away." He was so startled by the idea that people would give money for something not represented by a parcel that far into the night he discussed with his wife the wisdom of attempting so odd a kind of merchandising. In the morning he sought the advice of Robert Cochrane, a bright young man who wrote advertisements and sold them "ready-made" with text and illustrations to clothing merchants. The advertising man encouraged him to rent the vacant show shop, and within a few days Laemmle was operating a theater. He kept it clean, he was polite to the customers. He succeeded so well that soon he had another house — and another. During the earliest years of movie commerce, showmen bought the completed films outright from the manufacturers or importers, and "exchanged" films among themselves. For a few years this trading or exchanging of films among exhibitors was the only method of distributing motion pictures. Then men began to organize "exchanges," offices at which showmen could trade films they had used for films new to their patrons, and the practice of renting instead of buying pictures came into existence. The exchange became the jobber or distributor between manufacturer and retailer. Joseph Brandt, clerk in a New York advertising agency, attended law school at night, and after admittance to the bar received one day a client engaged in the new film-exchange business. Brandt became so interested in the movies that he abandoned law and got a position with a small picture manufacturer. Two of his young cousins, Jack and Harry Cohn, starting as office boys in the agency, had progressed to important positions when the lure of the movies drew the older lad from the law, and the younger two followed their cousin in the search for success via the film route.