Motion Picture Herald (Jul-Sep 1931)

Page scan 00095 from Motion Picture Herald

Record Details:

Title:
Motion Picture Herald
Date:
Jul-Sep 1931
Publisher:
[New York, N.Y. : Quigley Pub. Co.]
Volume:
Motion Picture Herald (Jul-Sep 1931)
Leaf #:
00095
Language:
English
Subjects:
motion pictures, Motion pictures -- Periodicals
Collection:
Hollywood Studio System
Format:
Periodicals
Contributor:
Library of Congress, MBRS, Moving Image Section
Sponsor:
Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division
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:
May 30, 2024
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ditorial O be noted to an increasing extent in theatre advertising is an absence of the old familiar superlatives. A fevv weeks ago one of the nnajor circuits adopted a style of newspaper advertising for an outstanding production that consisted predominantly in illustrative figures interpreting the theme and emotional quality of the picture, strikingly arranged around copy that was impressively restrained in both amount and tone. And a rival imitated it! The significant thing is that this attitude is growing. The promiscuous superlative is quite definitely coming under suspicion. Is it not true, that screamed over and over again, as it has been these many years, it is today so often mere noise? A new picture. But the same old shouting. This trend toward more originality and sincerity, and less noise, may be what the box office needs. \ [11]