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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 #:
000337
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 21, 2023
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Joseph L. Stiebel, Direct Examination. 2787 that theatre, we were using 21 reels, three a day. They offered me the same service. Q. ITow did the prices of unlicensed service compare with the prices for licensed service which were quoted you at the time you were making' an investigation of prices with the intent of furnishing a service for your theatre? A. There was very little difference in the price for the same age of stuff. Q. What price are you now paying for the service that you use at the Apollo Theatre? A. Well, it varies between $91.00 and |115.00 a week. Q. What is the magnitude of the service that you use? A. I use five reels a day, 35 reels a week. Q. Do you select your own program, or do you permit the exchange to select it for you? A. Well, I virtually select my program. Q. Do you give some time and attention to it? A. Yes, sir; all my time and attention. Q. I mean to the program? A. Yes, sir. Q. Do you mean to say that you give most of your time and attention to selecting the program? A. No, I mean that I give all my time and attention to the business connected with my theatre, which is principally the selection of the program and looking after the comfort of my patrons. Q. Do you obtain a satisfactory program from the Kansas City branch of the General Film Company? A. Eminently satisfactory. Q. Do you find it possible to get the program that you determine upon in advance, and the one that you think you want for your customers? A. Do I do what? Q. Do you find it possible to get the program that you determine upon in advance, and that you feel is desirable for your customer? A. Why, I always get my program five or six days in advance of the time that my new show opens. My week begins on Sunday. I get my program sometimes as early as Wednesday morning. It is necessary because I get out a printed program, and I must get that to the printer in time for distribution Saturday morning. Q. Do you get the sort of program that you desire? A. Yes, sir. Q. Do vou find that the General -Film Exchange is will