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.
Chain Theater Control <^ <^ <^> <^> <^ 351
Furthermore, union regulations restrict any attempt that might be made to learn about such equipment. The regulation of the projectionists' union, for instance, prohibits the presence of the manager in the projection room. Motion picture theater law is another field in which few men will acquire knowledge while engaged in the tasks of theater operation, unless they are actually confronted with legal difficulties.
Enthusiasm and the ability to enthuse others are among the principal requisites for all successful showmanship. While a few exceptional individuals can stir enthusiasm within themselves and maintain it, a majority acquire it by contact with others interested in the same type of work. It is believed that a group of new men trained at a school under the direction and inspiration of a combination showman and teacher can be fired with more enthusiasm for their work than could be acquired in the same length of time in any other manner. The existence of schools also might act as an incentive to the older managers to keep abreast of the latest development.
Attention may be called to such institutions as the Motion Picture Theater Managers Institute, located in Elmira, New York, which provides a course of training for theater managers. RKO also took a step in the direction of some form of training by calling 24 former college men to New York in June, 1931. These young men were placed in RKO houses throughout the country as assistant managers and treasurers, for the purpose of providing managers for new RKO houses which it was proposed to open, as well as to better qualify them for promotion.
While this problem of securing satisfactory operators for their theaters has received careful consideration by some of the more important producers, many of the larger problems of chain theater operation have been seriously neglected. This failure is to be explained by a number of factors. During the period that followed the introduction of sound films, theater operation, although not satisfactory, did not con