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)

Page scan 000237 from 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 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 #:
000237
Language:
English
Collection:
Government & Law and Early Cinema
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 12, 2024
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Glenn A. Cross, Direct Examination. 2687 Q. Had the Queen Theatre taken licensed service from a licensed rental exchange other than the General Film Company at any time? A. Yes, sir. Q. What licensed rental exchange was it? A. From the Theatre Film Service of Chicago, and National Film Exchange, Detroit; and Vaudette Film Exchange of Grand Rapids. Q. During the time that you were taking service for the Queen Theatre from any one of these three exchanges you have mentioned, did you find it possible to determine upon, announce and advertise a definite program in advance? A. No, sir. Q. Will you tell us why it was that you could not do that? A. Well, the main reason was — at one particular time we were taking from the Vaudette at Grand Rapids, and there seemed to be contention or personal feeling somewhere, and the Detroit National went so far as to pay the baggage-man on a fast train out of Detroit, money in order to carry their films, and get them there a few hours ahead of what we could get them there, thereby spoiling our day's business. Q. In what way did he spoil your program? By showing the same pictures, or showing the pictures in advance? A. By showing the same pictures, and pictures in advance. Q. And did this occur frequently or infrequently? A. Very frequently. Q. Did you ever try to arrange to have a program in advance during the time you were taking from any of these three rental exchanges? A. Yes. Q. What was the result of your attempt to arrange a program? A. Well, usually it was very unsatisfactory. We became discouraged in trying to do that, because you would expend usually perhaps $15.00 or $20.00 or $25.00 in advertising a certain film, and they would fall down on it. And there you have spent your money in advertising, and lost your film. Q. And couldn't give the performance at the time — A. Couldn't give the show at the time you were supposed to. Q. From what rental exchange were you taking a licensed service just before you began to take service from the General Film Company? A. From the National — Vaudette, Detroit. Q. After you began taking service from the General Film