Motion Picture Herald (Oct-Dec 1931)

NOTES on WRITERS SUBJECTS in If The immediate difficulty encountered in expressing one's self concerning the type of theatre so eminently discussed in this issue, lies in determining just what to call it. It is small. But so are a lot of theatres. It may employ the turnstile method of admitting patrons. Or it may not. It so far has leaned to great simplifications in architectural or decorative treatment, embracing the so-called modernistic attitude. Yet obviously it need not. It is simplified in many ways. Still, it has all the essential facilities of the fullest equipped theatre. If we must recognize it as a distinct type, then we must have a name for it, in order to distinguish it readily from large deluxe theatres and also from the ordinary small house. And we cannot depend upon its adaptation to store space in an existing building, for of course it could be constructed from the ground up, sole occupant of its own housing. The few examples that we now have, which do happen to have been adapted to former store space, are the three Translux theatres in New York, the Studio in Hollywood, and one being built on upper Broadway in New York. If Because of the many conjectures, many arising at the time the first Trans-Lux theatre was opened in New York last winter, it is interesting to note that Harold B. Franklin {Operating the "Automatic" Theatre) does not consider the success of the Hughes-Franklin Studio theatre dependent upon its novelty. Patrons find this unique little house novel, of course, what with its soda fountain in the lobby, vending machines in foyer and lounge, sidewalk with a window revealing the air conditioning compressor. But, says Mr. Franklin, they come again and again. IT It is interesting to note in the general physical makeup of the type, how it is timed with another development. In design, the need for economy in such small theatres takes full advantage of the modern or "modernistic" principles of frank simplicity and functional decoration. Alfonso lannelli has followed this course closely in his creation {A Design for a Theatre Adaptable to Store Space). Mr. lannelli is an internationally known sculptor and designer who has contributed to many monumental buildings. If One of the theatres for which plans are offered by Ben Schlanger {Planning Today's Simplified Theatre), is an actual project in New York, and will be the first theatre in this country to have the main floor sloping toward the rear of the auditorium instead of toward the stage. This is according to the scheme devised by Mr. Schlanger, New York architect, which provoked so much interest when introduced to the industry at the spring meeting of the Society of Motion Picture Engineers. This house therefore affords a practical demonstration of the idea, and the plans themselves well show how it has been in this case worked out. Another feature shown is the use of a modified stadium type of seating arrangement, affording greater intimacy, more seats per unit of space, and room for further facilities. The other set of plans in Mr. Schlanger's group are entirely hypothetical, original creations conceived to suggest possible treatment according to the best principles of seating, projection and patron accommodation. IT The discussion of architectural aspects contributed by S. Charles Lee {The Features of an Automatic Cinema) are based directly upon his and this ISSUE experience in planning the Studio theatre, which was an adaptation to a structure offering a number of difficulties that a more suitable building would not have presented. Mr. Lee is the well known Los Angeles architect who has specialized in theatres for many years. IT It was thought that a review of what has been achieved, and what possibilities lie ahead, in the use of vending equipment in theatres, would be particularly interesting if offered in association with material on the "automatic" or "simplified" type of theatre — this because, as is so eminently the case with regard to the Studio, such auxiliary money-makers seem to be so uniquely adapted to the whole scheme of operation involved. 0. C. Lightner, who discusses this distant cousin to modern exhibition {The Vending Machine in the Theatre)., is the editor of the publication devoted to that field, Automatic Age. He is a Chicagoan. T In the December 19th issue the series. Modern Seating and Chair Maintenance, will get thoroughly under way in its attempt to offer instruction to the architect, theatre owner and manager in all phases of seating of practical importance to the purchaser. The six articles will appear in consecutive issues of Better Theatres. Reuben A. Nyhagen is a seating engineer who has had years of experience in the manufacturing, installation and maintenance problems of public seating, particularly that of the motion picture theatre. IT C. M. Falge and C. M. Cutler {Illumination for the Intimate Cinema) are both electrical engineers specializing in lighting problems. They are associated with the General Electric Company at Nela Park, Cleveland. If Vern 0. Knudsen hardly needs identification to those who have been more intimately concerned with the acoustics of studio and theatre. He has done a great deal of work for the producers, and has also been a contributor to our present body of knowledge concerning theatre acoustics since the advent of sound. He is associate professor of Physics in the University of California at Los Angeles. In connection with his work in the university, he is a physicist and consultant on acoustics, and has designed the acoustical features of the sound stages at the studios of both Paramount and MetroGoldwyn-Mayer. He is eminently suited to discuss acoustics in relation to air conditioning equipment, having been retained by the Carrier Engineering Corporation to help solve just such problems as dealt with in Sound Control in Air Conditioning Installations. The article is offered through arrangement with the publication, Heating-Piping & Air Conditioning. IT Aaron Nadell must be well known to our readers by this time, even though he was introduced by name only in the last issue. Mr. Nadell is a projection and sound engineer who has been identified with Electrical Research Products and the Paramount Publix projectionsound organization. He lives in Brooklyn. T W. H. Mooring {Two New Circuit Theatres in England) is the editor of the British film trade journal, The Bioscope. He is also the London representative of Motion Picture Herald. If Leo T. Parker {Rights of Labor: Recent Court Decisions) a regular contributor of legal articles, is a Cincinnati attorney.