Moving Picture World (May-Jun 1925)

Page scan 0001087 from Moving Picture World

Record Details:

Title:
Moving Picture World
Date:
May-Jun 1925
Publisher:
New York, Chalmers Publishing Company
Volume:
Moving Picture World (May-Jun 1925)
Leaf #:
0001087
Language:
English
Collection:
Early Cinema and Hollywood Studio System
Format:
Periodicals
Contributor:
The Museum of Modern Art Library, New York
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Moving Picture World, founded in 1907 by J.P. Chalmers, was one of the motion picture industry's first trade papers. Published on a weekly basis in New York City, Moving Picture World informed exhibitors about films available for rental and editorialized on behalf of the growing industry (improving the quality of movies through higher filmmaking standards, not government censorship, was a frequent topic). The paper reached its height in the mid-to-late-1910s--a fact reflected in the circulation figures and the huge amount of advertising that filled every issue during the period. In the 1920s, Moving Picture World lost ground to other competing weekly trade papers -- including Variety, Exhibitor's Herald, and Motion Picture News. In 1927, Moving Picture World ceased publication when it was acquired by Martin Quigley's Exhibitor's Herald. Across the 20 year run of Moving Picture World, readers can watch the transition from short film programs to feature films and witness the transition from the dominance of Edison's Trust to the rise of the "Independent" film companies that ultimately became the Hollywood studios. Silent film historians have utilized and cited Moving Picture World more frequently than any other trade paper, and the publication still has many insights left to offer. -- Eric Hoyt, 2012/2013
Date Added:
May 30, 2024
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June 27, 1925 MOVING PICTURE WORLD 957 A Moving Picture World Presentation Detailed information relative to the production of the presen tation suggested are printed herewith. Permission is given to any producer or exhibitor to use the Colby Harriman suggestions appearing in this section. Any other information desired to stage the presentation may be secured upon request. A GREATER MOVIE SEASON SPECIAL No. 2 “DANCE OF THE SEASONS” An Interpretive Scene in Four Scenes A MOVING PICTURE WORLD PRESENTATION DEVISED BY COLBY HARRIMAN THERE is a general movement to give the various dance features something more than an appearance. The trend is towards ideas which embody some definite theme or story which may be expressed or interpreted by rhythm of the dance, and in dance pantomime. One of the principal objections relative to the weekly appearance of dance features in a presentation program is that there is a marked degree of similarity which breeds monotony, and a number of producers have eliminated the regular ballet and dance artist from their organizations as it seemed that the only thing which was different in the weekly programs was the scenery. We know that if we give a definite idea a base upon which to operate, that idea can be easily interpreted, and this is particularly true of dance pantomime. In order for this vital artistic force to attain a degree of popularity and enjoy the constant interest of the patrons, we must give it something specific to do, something that the audience can understand. Of course, we know that the variations of the dance the knowledge of which is shared by the artist in the constantly changing forms he presents, yet there is such a thin line defining them that the average patron says, “It may be different but it looks the same to me.” The presentation we are suggesting this week is the second in Greater Movie Season program and is one which we believe offers the possibilities for a capable ballet master to present his corps in a varied dance, interpretive of the motifs and elements dominating the different seasons of the year. First of all, especial emphasis must be laid on the fact that each “season” must be marked with a dance which is distinct in its action and interpretation from the preceding and following dances. Nature offers so many moods which the dancer can express that these variations, while they are not complicated, need not be confused. The settings are particularly simple. In each scene the set tree, a ground row and a blue eye constitute the principal pieces. We are omitting our regular routine in this number of giving details of the sets, as the mounting is so simple that it can be described without the aid of detailed specifications. Arched Drop in One This drop should be hung down at the curtain line with a cut hemispherical opening. It is suggested that this drop be paint