Motion Picture Herald (Jul-Aug 1943)

Record Details:

Title:
Motion Picture Herald
Date:
Jul-Aug 1943
Publisher:
[New York, N.Y. : Quigley Pub. Co.]
Volume:
Motion Picture Herald (Jul-Aug 1943)
Leaf #:
000660
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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64 BETTER THEATRES August 2 1, I 943 oft*/ Exhibitors of America have many duties to perform these war days. You build unity and morale through motion picture presentations— and you promote and support the various government drives that are initiated to spur war production and civilian defense. RCA Service, like exhibitors, is carrying on important war duties: RCA engineers are rendering scheduled service to projection room equipment in thousands of theatres to "Keep 'em Running"and other RCA Service groups are installing military equipment and instructing personnel, in this country and at the battlefronts. The RCA Service organization is today more than nation-wide ... it is world-wide . . . serving the home front and battlefronts too! RCA SERVICE CO., INC. RADIO CORPORATION OF AMERICA Subsidiary Camden, N. J. The LIGHT on your om SCREEN By CHARLES E. SHULTZ Member SMPE . . . Honorary Life Member LOCAL 365, IATSE & MPMO The Practical Meaning Of Relative Aperture Projectionist Roy Brierly of I A Local 306, New York City, asks : "I have often heard the relative aperture of a lens referred to as the f :speed of that lens. I know that the relative aperture means the relationship between the focus of the lens and its smallest opening, but I would like to know how the word 'speed' is associated with the relative aperture, 15 foot-candles without film, when this lens had a relative aperture of f :2.2, what percentage of the light would pass through this same lens at a relative aperture of f:2.5, or f:3, and what would be the size of the smallest opening in the lens in each case?" This is a very good question on an important phase of lens operation which often proves puzzling and I am sure it will interest many other projectionists. In answer to your first question regarding "f:speed": You are correct in your belief that this is a term for one of the fac See text on page 66 WATER TANK which is a factor designating how much light is transmitted by a lens and not how fast it passes through the lens. "I wonder if you would also tell me the percentage of difference in transmission for the same lens at several different values of relative aperture. In other words, if I were using a 4I/2-inch E.F. lens and I had an average light all over my screen of tors which determines "how mueh" light will pass through a lens. The use of the word "speed" undoubtedly originated from the use of photographic lenses in which high relative aperture permitted a greater shutter speed for the same exposure value because as much light was transmitted in a short interval of time as that transmitted by a lens of