Motion Picture Herald (Jul-Aug 1936)

Page scan 000441 from Motion Picture Herald

Record Details:

Title:
Motion Picture Herald
Date:
Jul-Aug 1936
Publisher:
[New York, N.Y. : Quigley Pub. Co.]
Volume:
Motion Picture Herald (Jul-Aug 1936)
Leaf #:
000441
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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The front and (below) the lobby. The darkness in the night scene above obliterates the colorful masses, which are red and blue Macotta. The ceiling of the lobby conceals lighting troughs. of balcony seats is another cross-aisle, which gives access to toilet rooms on one side. Seats on the main floor are divided into three banks, with two middle aisles and a cross-over at the center. The balcony seating is arranged in four banks (except for that area occupied by the stair well). Seats are by the American Seating Company. The front of the Savar is very frankly treated as an immense sign. The structure is faced in Macotta, a material consisting in enamel veneering attached to concrete blocks. This material is used in two brilliant colors, blue and red, in shades especially selected for the Savar. These contrasting colors define the massing of the front. This is not shown in the accompanying photograph, which was taken at night. The front is designed in two planes, one being slightly more forward and lower. This section is red, while that rising above it, a little to the rear, and also showing at one side, is blue. These same shades are carried in all the sign work, which is lighted with neon, and throughout the marquee, which is shaped like a triangle but with the apex cut off. The box office is at one side, abutting July 25, 1936 11