Motion Picture Herald (May-Jun 1947)

Record Details:

Title:
Motion Picture Herald
Date:
May-Jun 1947
Publisher:
[New York, N.Y. : Quigley Pub. Co.]
Volume:
Motion Picture Herald (May-Jun 1947)
Leaf #:
000465
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:
August 29, 2022
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■ Architecturally, the auditorium of the Miami presents a scheme to reduce the effect of narrowness. Its length is interrupted by a series of neon light coves above a traffic ledge on each side and continuing across the ceiling. Each ledge extends from the balcony to the front wall, providing direct egress, to meet code requirements, from the balcony to the street behind the theatre. At the rear both ramps and staircases are used. Two types of chairs are installed — American special springconstruction model in a loge section at the front of the balcony, and Kroehler push-back chairs elsewhere, with all upholstered in mohair -and spacing 34 inches back-to-back. The balcony rises over mezzanine lounge area, where a central staircase from the main foyer is located for balcony traffic. This lounge area is also integrated with the second restaurant level. FLOOR PLANS OF THE MIAMI THEATRE ■ Refreshment bars are located in both the main and in a mezzanine foyer, each operated by Huyler's, operators of the adjoining candy and soda fountain shop and restaurant. There also are doors between the restaurant, which has three floors, and both foyers. At the mezzanine bar (above, right) as well as the main floor booth (above, left) any of the Huyler services are available, or patrons may go directly into the restaurant if they desire. The kitchen is located in the basement, from which all restaurant levels are serviced, as orders require, by means of dumbwaiters. Given the general modern baroque pattern of theatre, the foyers have ceilings with escalloped coves carrying neon tubing in warm colors combined with white. Rails of the staircase leading to the mezzanine lounge consist in glass etched with tropical figures and lighted by neon tubing beneath the cap. BETTER THEATRES, MAY 31, 1947 23