Motion Picture Herald (Jan-Mar 1956)

Record Details:

Title:
Motion Picture Herald
Date:
Jan-Mar 1956
Publisher:
New York, Quigley Publishing Co.
Volume:
Motion Picture Herald (Jan-Mar 1956)
Leaf #:
000700
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:
May 30, 2024
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THE LA RAMPA THEATRE, Continued THE LOUNGES; Pictured at right is the women's lounge of the La Rampa. This and the men's lounge are located on opposite sides of the building, and with the stadium form the theatre area above the commercial space. The lounges are reached from a landing where the ramp turns to the auditorium entrance. The lower righthand photo looks toward the landing, the lefthand photo from the landing. THE AUDITORIUM: The auditorium of the La Rampa (above) seats 950, with only 300 on the main floor, the rest in a stadium section. Chairs throughout are HeywoodWakefleld upholstered in dark green nylon. Both walls and ceiling are 3/ 1 6-inch perforated asbestos board backed by mineral wool, and air space intervenes between the acoustic wool and the structural wall, giving the asbestos board diaphragmatic action, with the board variously braced to give different frequency response. Further, wall boards form splayed panels to break up sound reflection directionally, and the ceiling Is similarly splayed. The screen is integrated into auditorium design (see description at the right). THE SCREEN: About 40 feet wide, the screen at the La Rampa has a synchronous type luminous surround, designed by Ben Schlanger as consulting architect. The surround adds approximately l2yo to the visual field. No movable maskings were employed; both picture width and position of the top of the picture are constant regardless of projection system used. The aspect ratio for non-anamorphic projection is 1.77-to-l; for anamorphic it is 2-to-l, leaving unused strip across the bottom of the screen (area of which audience is least conscious). Mr. Schlanger comments: "It is not possible to have a contiguous surround lighted by reflection of the picture light, so as to maintain the surround in the same color temperature as the picture, when movable maskings are used; the surround, of course, has the very purpose of eliminating such bold picture-framing borders." These surrounds are fabricated of cement asbestos wallboards on steel framework, with the boards covered in canvas, which Is painted the same tone as the screen surface. 18 Motion Picture Herald, March 24, 1956