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by Kenneth A? CfAiTEy.
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THE white dove of Peace that has spread i t s wings over the warring world has also brought a small bale of olive branches to the warring factions of the motion picture fraternity— the producer and the e x h i b i t o r — who, since the inception of the industry, have been at each other's throats, battling for their rights, but who have recently buried practically the entire hatchet and are now working more or less harmoniously together for better motion pictures. I qualify these remarks, for the smoke of the burning cornfields in each territory is still seen on the horizon.
The amusement 36
Afi£
seeKer, I believe, is not interested in the difficulties between the producer and the exhibitor. They do not care a hoot who presents so and so in such and such a picture. The public has a knowledge that if they go to one theater, good pictures are to be seen, and if they go to another, bad pictures prevail. The fan enjoys going to a certain theater and has a miserable time at others. The reason for this is not analyzed. They have their favorite stars or stories, and if they want to see those stars or stories, they go where The troubles of the makers of amusement do not interest them.
This article, altho it deals with the workings of the
producer-exhibitor strife, should be interesting to
the reader, as it endeavors to explain why
there have been so many bad pictures —
why pictures are getting better and why
they are still going to improve.
Way back in the dark ages of the
silent drama — ten or twelve years
Examples of modern photoplay theaters, Loew's Montreal Theater, and New York's famous Rialto. In circle, Adolph Zukor, one of the best known producers of pictures and head of the Famous Players-Lasky Co.
they are on exhibition.
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