In the District Court of the United States, for the Eastern District of Pennsylvania, the United States of America, petitioner, vs. Motion Picture Patents Company, et al., defendants (1914)

Record Details:

Title:
In the District Court of the United States, for the Eastern District of Pennsylvania, the United States of America, petitioner, vs. Motion Picture Patents Company, et al., defendants
Date:
1914
Publisher:
New York, Appeal Printing Co.
Volume:
In the District Court of the United States, for the Eastern District of Pennsylvania, the United States of America, petitioner, vs. Motion Picture Patents Company, et al., defendants : record volume 5
Leaf #:
000133
Language:
English
Collection:
Early Cinema and Government & Law
Format:
Periodicals
Contributor:
The Museum of Modern Art Library, New York
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
These seven volumes contain the testimonies and supporting documents from the U.S. District Court's antitrust lawsuit against the Motion Picture Patents Company (MPPC). Formed in 1908, the MPPC (sometimes referred to asœ"the Edison Trust" or just "the Trust") sought to control the American film industry through pooling patents and demanding that producers and exhibitors acquire licenses to those patents. Independent producers and exhibitors, who refused to license the patents, argued that the MPPC was an unlawful monopoly. In 1912 and 1913, the U.S. District Court for the Eastern District of Pennsylvania heard testimonies from both MPPC members, such as Siegmund Lubin, and "Independents" who later became Hollywood moguls, such as William Fox. Ultimately, in 1915, the case reached the U.S. Supreme Court, which found the MPPC in violation of the Sherman Antitrust Act and spelled the end for the already weakening MPPC. -- Eric Hoyt, 2012
Date Added:
September 21, 2023
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James B. Clark, Direct Examination. 2583 the fact that you handle it exclusively in the territory outlined? A. Yes, sir. Q. And is this price higher because of the exclusive privilege which is given you? A. It is. Q. Do the exhibitors pay you a higher price for this service than they do for the other service? A. Yes, sir. Q. Is this higher price based upon the fact that it is exclusive service to these exhibitors and cannot be had by their competitors? A. Yes, partly. Q. Have you any objection to telling us how many exhibitors your exchanges supply in this territory? A. Well, I can't tell you exactly, but I judge 230 or 240. Q. And that is the territory to which you referred in saying you supply at least 230? A. That is in the two exchanges not the Famous Players. Q. This is outside of the Famous Players? A. Yes, sir, our regular program in Western Pennsylvania and in West Virginia. Q. And does each of these independent exchanges supply a complete program to exhibitors who take your service? A. Yes, sir. Q. And when you say that there are 230 exhibitors served you mean that both exchanges serve two hundred and thirty exhibitors? A. Yes, sir, both exchanges together. Q. In dealing with the independent producers of motion pictures does your exchange lease or buy motion pictures from them? A. It leases them. Q. Do you return these leased pictures to the makers of the motion pictures later on? A. We do. Q. How long has this practice been in vogue? A. I can't tell you exactly. I think about a year. Q. You know that you have been returning pictures for practically a year? A. Yes, sir. I know we have been returning them to the Universal. I can't say about the Mutual. I don't know that, but I know they are leased by the Mutual. Q. What are the prices that your exchanges pay for the independent motion pictures? Mr. Grosvenou: Objected to as immaterial. By Mr. Kingsley: Q. You may answer, Mr. Clark. A. We pay the Universal ten cents.