Motion Picture Herald (1954)

Record Details:

Title:
Motion Picture Herald
Date:
1954
Publisher:
New York, Quigley Publishing Co.
Volume:
Motion Picture Herald (Oct-Dec 1954)
Leaf #:
00089
Language:
English
Collection:
Hollywood Studio System
Format:
Periodicals
Contributor:
Media History Digital Library
Sponsor:
Media History Digital Library
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:
March 28, 2024
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

that is .912x.715-inch. The extending of the width of this aperture was made possible by relocating the sound tracks, as was done with the stereophonic magnetic sound on the CinemaScope print. The area of this aperture is .652 square inch, the largest of the systems used for general release, consequently it will pass out the most illumination. The CinemaScope aperature has an aspect ratio of 1.27-to-l, and used with an anamorphic lens of 2-to-l expansion, it gives a projected picture of 2.55-to1 aspect ratio. The recent decision to release optical prints in CinemaScope necessitates the use of an ,839x.7 15-inch aperture, or ratio of 1.17-to-l, which when projected by the regular 2-to-l expansion, results in a picture of aspect ratio 2.35-to-l. The area of this aperture is 6.00-sq. in. APERTURE AREA VALUES To compare the light that can be put through these four apertures, let us consider the standard width with a height to project a picture at an aspect ratio of 1.85to-1. To this aperture let us assign a value of 100 units, based on the area of .368-sq. in. Accordingly, to a .825x.600 aperture used with a VistaVision squeeze print (ljdj-toT expansion), which has an area .495-sq. in., we must assign a value of 135 units, since this size aperture passes 35% more light than the first aperture cited above. It follows, then, that the CinemaScope optical track aperture, with an area of .600-sq. in., rates 163 units, since it projects 63% more light than the “crop” aperture to which we assigned a value of 100. The CinemaScope magnetic print aperture, with an area of .652-sq. in., projects 77% more light than the “crop” aperture, or 177 units. Since a lamp of the power referred to previously, without projector shutter running, puts 17,500 lumens through the nonanamorphic VistaVision aperture, it follows that 23,500 lumens can be put through the anamorphic VistaVision aperture, 28,500 through the optical CinemaScope aperture, and 31,000 lumens through the CinemaScope magnetic print aperture. Taking the example of a drive-in theatre which has been equipped with the most powerful arc lamps, projecting to a 66x50foot white screen in a 1.33-to-l aspect ratio, it is interesting to compare the size of pictures that can be obtained with each of these new wide-screen projection systems to obtain the Identical unit brightness on the screen in all cases. Taking the case of the non-anamorphic VistaVision system, and assuming the picture will be projected to a matte white painted screen, the width of the screen that can be utilized would be 66 feet. In the UP TO 90 FT. WITHOUT A SEAM — ANY SIZE WITHOUT A STREAK AND WASHABLE FOR ECONOMICAL LONG LIFE PLUS DOUBLE WEIGHT SCREEN FOR ADDED STRENGTH FOR ANY TYPE FILM PROJECTION 2D 3D AND WIDE SCREEN BODDE SEAMLESS SCREENS ARE * CAST IN ONE PIECE — NO WELDED SEAMS AVAILABLE IN 3 REFLECTING FACTORS * DOUBLE SCREEN SIZE WITHOUT INCREAS TYPE A (For narrow theatre) has 4:1 GAIN FACTOR ★ ING PROJECTOR LIGHT OUTPUT TOPS FOR COLOR REPRODUCTION TYPE B (For medium width theatre) has 3:1 GAIN FACTOR ★ ★ LOWEST DEPOLARIZING FACTOR FOR 3D SURFACE DOES NOT CRACK OR FLAKE OFF TYPE C (For wide theatre or steep balcony) has 2 V2 GAIN FACTOR ★ ★ WASHABLE WITH SOAP AND WATER SURFACE DOES NOT DISCOLOR SEE YOUR LOCAL SUPPLY DEALER (or contact us direct for further information) BODDE SCREEN COMPANY • 8829 VENICE BLVD. • LOS ANGELES 34, CALIFORNIA RAYT0NE SCREENS The Raytone All-Purpose HILUX Screen is seamless in construction and will give bright, even light distribution to the most desirable seats in the theatre. Complete uniformity of surface without blemishes! It is excellent for all wide-screen systems, 3-D, 2-D in color or black and white. These claims are supported by the manufacturer’s absolute moneyback guarantee which states that any Raytone HILUX Screen which fails to meet these specifications need not be paid for by the exhibitor. This superb tear-proof, flame-proof, mildew-proof Screen is ready for prompt delivery. RAYTONE screen CORP. 165 Clermont Ave., Brooklyn 5, New York MIDWEST: L. E. Cooley, 408 Oak Park Ave., Oak Park, III. BETTER THEATRES SECTION 35