Motion Picture Herald (Mar-Apr 1947)

Page scan 00061 from Motion Picture Herald

Record Details:

Title:
Motion Picture Herald
Date:
Mar-Apr 1947
Publisher:
[New York, N.Y. : Quigley Pub. Co.]
Volume:
Motion Picture Herald (Mar-Apr 1947)
Leaf #:
00061
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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LOBBY CONTEST To exploit "The Verdict" at the Paramount theatre, Atlanta, Ga., manager S. J. George erected this crazy-quilt design from stills of the picture. He then invited patrons to guess the number of faces which appear on the display and offered guest tickets to the first 50 submitting the nearest correct answers. A neat bit of showmanship, adaptable to any picture. During March of Dimes Drive, showmen turned to with a will to aid fight against infantile paralysis. Displays such as this "Wishing Well" at manager Charles Zinn's State theatre, Minneapolis, were in evidence. IN ARGENTINA the opening of "A Thousand and One Nights" at the Oceon theatre, Buenos Aires, called for special exploitation activity by manager Salvador Salias. One phase of his campaign included this spectacular front with huge star paintings. Photographs and lettering on all entrance doors gave an impressive effect. THOMAS A. EDISON h^SSs »»« CENTENNIAL »« ' I J 1 CAESAR ET PATIO EST," says copy on this pony cart. Translated it means that "Caesar and Cleopatra" is on the Cen-tury Patio theatre screen in Brooklyn, N. Y. It also means that manager Allen Grant of the Patio was right on the ball exploiting the film. f comes... «_ A % % 3% % l i f t MONTY SALMON, manager of the Rivoli theatre in New York, set up this attractive display on the theatre mezzanine to commemorate the ! 00th anniversary of the birth of Thomas Edison. ADVANCE lobby buildup for "Caravan". At the Vogue, Vancouver, manager Al Jenkins employed a fortune tell er and had usherettes dressed in colorful gypsy garb. MANAGERS' ROUND TABLE, MARCH I, 1947 §6