APPENDICES
APPENDIX A
STATISTICS SHOWING THE SCOPE OF THE MOTION PICTURE INDUSTRY
| Motion picture theatres in the United States | 15,000 |
| Seating capacity (one show) | 7,605,000 |
| Average weekly attendance at picture theatres | 50,000,000 |
| Admissions paid annually | $520,000,000 |
| The average number of reels used for one performance | 8 |
| Average number of seats in picture theatres | 507 |
| Number of persons employed in picture theatres | 105,000 |
| Persons employed in picture production | 50,000 |
| Permanent employees in all branches of picture industry | 300,000 |
| Investment in motion picture industry | $1,250,000,000 |
| Approximate cost of pictures produced annually | $200,000,000 |
| Salaries and wages paid annually at studios in production | $75,000,000 |
| Cost of costumes, scenery, and other materials and supplies used in production annually | $50,000,000 |
| Average number of feature films produced annually | 700 |
| Average number of short reel subjects, excluding news reels, annually | 1,500 |
| Taxable motion picture property in the United States | $720,000,000 |
| Percentage of pictures made in California (1922) | 84% |
| Percentage of pictures made in New York (1922) | 12% |
| Percentage of pictures made elsewhere in United States (1922) | 4% |
| Foreign made pictures sent here for sale (1992) | 425 |
| Foreign made pictures sold and released for exhibition | 6 |
| Theatres running six to seven days per week | 9,000 |
| Theatres running four to five days per week | 1,500 |
| Theatres running one to three days per week | 4,500 |
| Lineal feet of film exported in 1921 | 140,000,000 |
| Lineal feet of film exported in 1913 | 32,000,000 |
| Percentage of American films used in foreign countries | 90 |
| Film footage used each week by news reels | 1,400,000 |
| Combined circulation of news reels weekly | 40,000,000 |
| Number of theatres using news reels weekly | 11,000 |
| Amount spent annually by producers and exhibitors in newspaper and magazine advertising | $5,000,000 |
| Amount spent annually by producers in photos, cuts, slides, and other accessories | $2,000,000 |
| Amount spent annually by producers in lithographs | $2,000,000 |
| Amount spent annually by producers in printing and engraving | $3,000,000 |
| Hospitals and charitable institutions in U. S. equipped for showing motion pictures, Jan. 1, 1923 | 7,000 |
| The number of schools and churches in U. S. equipped for showing motion pictures, Jan. 1, 1923, almost equals the number of theatres. | |
| Practically every State and Federal Penitentiary, Penal Institution and House of Detention in the U. S. shows motion pictures regularly to their inmates. |
APPENDIX B
THE SCREEN AS A NEW LIFE GIVER TO LITERARY CLASSICS
The following quotations are culled from recent reports made by librarians in various parts of the United States:
“The filming of books always causes a great demand for them. A call comes immediately after the advertisement appears in local newspapers and lasts months, and, in cases where pictures are extraordinarily good, years after the film has been shown. Before the exhibition of the pictures, ‘Peter Ibbetson’ stood on the shelf. Dumas was read by few, and interest in ‘The Four Horsemen of the Apocalypse’ lagged. Since the films have been shown here, these books are circulating constantly.
“Not only do the films increase the demand for a particular book, but interest is aroused in the time and setting of the story. For instance, after ‘The Three Musketeers’ was shown, calls came for the life of Richelieu and the history of the reign of Charles First. Dumas is now in great demand. ‘Orphans of the Storm’ brought calls for the life of Danton and the history of the French Revolution. ‘Passion’ overwhelmed us with demands for the life of Dubarry and the life of Louis XIV.”
Walnut Hills Librarian, Cincinnati, Ohio.
“I can say, most emphatically, that the filming of literary classics does have a very noticeable effect upon the reading of the books filmed. The increase in the demand and use of these books is noticeable from the very moment they are announced. ‘Robin Hood’ is on here now, and long before it first appeared, every scrap of our information on Robin Hood was out in use. Recently this was true of ‘The Prisoner of Zenda,’ a subject which has been dead for quite some time in library circulation and all at once it was revived with a tremendous demand. Not long ago we had a sudden call from many parts of the city for material about ‘Fanchon the Cricket’ and later learned that the film had been running in an obscure community moving picture house.”
Charles E. Rusk, Librarian, Indianapolis, Ind.
“In some cases there is a demand for the books in foreign languages such as Italian and Hungarian, and the showing of ‘The Four Horsemen of the Apocalypse’ brought requests for the book in the original Spanish.”
Librarian of Public Library, Cleveland, Ohio.
“Very often not only the story filmed is called for, but others by the same author. In the case of ‘Monte Cristo,’ it has led to a great demand for all the works of Dumas. ‘A Connecticut Yankee in King Arthur’s Court’ has revived the interest in others of Mark Twain’s works.”
Report by a New England Librarian.
“The screen creates a new demand on the part of those who have not themselves seen the picture. A middlewestern librarian tells me that many of their calls for the book come from those who have seen the advertising of the picture, or who have heard their friends talk about it, or who assume that a book which has found its way into motion pictures must be out of the ordinary. By way of anticipating and satisfying this demand, that librarian has kept a display rack of books in constant circulation by placing the sign above them: ‘These Books Have Appeared in the Movies.’”
Ralph Hayes.
APPENDIX C
WHAT MASSACHUSETTS THINKS OF MOTION PICTURE CENSORSHIP
In 1921, the legislature of Massachusetts was induced to pass a censorship law. By petition it became a referendum matter and on November 7, 1922, the public of Massachusetts voted upon the question of whether or not the people desired a censorship of the motion picture. The people defeated the measure by a vote of 553,173 to 208,252, a majority of 344,921 against censorship.
It was the first time the public of any State had ever been given the opportunity to register its opinion on this important subject. Massachusetts is a conservative State. Its people are conservative people. They rejected censorship by a vote greater than that given to any candidate on the ticket or to any issue. Their voice at the polls was based upon a thorough understanding and consideration of this issue. In this work of enlightenment, the newspapers of Massachusetts performed a tremendous service to the motion picture. Ninety-two per cent of them stood staunchly upon the principle that freedom of expression upon the screen is just as essential to its further development as freedom of the press is essential to the continued enlightenment of mankind.
APPENDIX D
SIGNIFICANT DATES IN THE EVOLUTION OF THE MOTION PICTURE
Daguerre, Louis Jacques Mandé, of France, inventor of photography, born 1789, died 1851.
Desvignes, of France, devised apparatus for animated photography, 1860.
Du Mont, of France, formulated scheme of chronophotography, 1861.
Muybridge, an Englishman, photographs a trotting horse in motion, California, 1872.
Jansen’s photographic revolver for recording the transit of Venus, 1874.
Dr. E. J. Marey’s photographic gun for studying the flight of birds, 1882.
Stern filed patent in Great Britain for chronophotographic apparatus, 1889.
Roller photography invented by Eastman and Walker, 1885.
Eastman, an American, invents celluloid film, 1889.
Edison, an American, exhibits his Kinetoscope at Chicago World’s Fair, 1893.
Robert W. Paul, an Englishman, throws first movie picture on screen at his studio in Hatton Garden, London, early in 1895.
Paul shows movies at the Royal Institution, London, Feb. 28, 1896.
Paul and Sir Augustus Harris win success at the Olympia Theatre, London, with the “Theatograph,” 1896.
Richard G. Hollaman, an American, exhibits the cinematograph at his New York Eden Musée, 1896.
Charles Urban installs his new projector at the Eden Musée, 1897.
First topical film—the English Derby of 1896—was shown by Paul at the Alhambra, London, 1896.
APPENDIX E
WHAT THE MOVIE HAS DONE FOR A GREAT RAILROAD
A little over two years ago, the loss and damage bill of the Illinois Central Railroad, on carload and less-than-carload shipments, averaged more than $2,500,000 for a single year.
Seven months after motion pictures were adopted to educate employees in proper methods of freight handling, in connection with a vigorous campaign to improve the record, that expense was reduced a cool million dollars! The reduction has averaged approximately fifty per cent for the year. Best of all, the bill is still on the down-grade.
In addition to reels on “Loss and Damage,” the Illinois Central Railroad has produced other films on methods of engineering and switching. Its “visual education department” boasts a collection of 6000 slides, in addition to nearly half a million negatives of still photographs.
There are likewise motion pictures made expressly to educate farmers along the road’s right of way in modern scientific methods of poultry raising, soil treatment, dairying, potato culture, and packing produce for shipment. A force of industrial agents maintained by the railroad holds farmers’ meetings at which talks and films are the order of the day, and conducts field days and other get-together affairs where “the movies” constitute an always dependable attraction.
Visual Education, March, 1923.
APPENDIX F
FACTS AND FIGURES SHOWING THAT THE SCREEN HAS BECOME THE FIRST WORLD CONQUEROR
Buenos Aires, Argentina, has 128 motion-picture theatres, with 2,250,000 paid admissions per month.
Montreal, Canada, supports over sixty motion-picture theatres.
Santiago, Chile, has twenty-three motion-picture theatres, and a new one is now in process of construction which will seat 2,500 people.
American films depicting exciting serial dramas and boisterous comedies are popular in China. Shanghai has 20 motion-picture theatres; Canton 15; Hongkong 8, Peking, Tientsin and Hankow 7 each.
The first motion-picture drama produced in China with a native cast was screened July 1, 1921, at the Olympic Theatre, Shanghai, by the Chinese Motion Picture Society.
In Greece there are about 40 motion-picture houses, 9 of which are in Athens.
In India, Burma and Ceylon there are about 168 motion picture houses, 16 of which are in Calcutta.
In Java there are 250 motion-picture theatres. American films are the most popular. One of the largest theatres seats 2,000 Europeans and 2,500 natives.
In Japan there are about 600 motion-picture theatres giving regular performances and about 2,000 more giving occasional performances. Tokyo has about 50 houses, Osaka 30, Kobe 15, and Kyoto 10. These theatres seat between 500 and 1,500 people.
There are in the Netherlands 170 licensed film theatres, with more than 50 other theatres, town halls and society rooms where films are occasionally shown.
Bergen, Norway, a city of 100,000 inhabitants, has seven motion-picture theatres, with a combined seating capacity of 4,000. Seventy-five per cent of the films shown are American.
Lisbon, Portugal, has 3 motion-picture theatres with a seating capacity of 800 persons each, and thirteen smaller houses seating about 400 each. There are about 120 motion-picture theatres in all Portugal. American picture films are rapidly increasing in popularity.
The largest motion picture theatre in Bucharest, Rumania, has a seating capacity of 1,200.
Sweden is better supplied with motion picture theatres than any country in the world. With a population of 6,000,000 it has over 600 cinema houses. Stockholm, with a population of 500,000, has 75 picture theatres.
Great Britain has about 4,000 motion-picture theatres. The largest and best appointed cinema theatres in the United Kingdom are found in the provincial towns of England such as Manchester, Bradford, Leeds and Liverpool.
France has about 2000 picture theatres, Denmark 250, Belgium about 800.
APPENDIX G
MEMBERS OF THE COMMITTEE ON PUBLIC RELATIONS COÖPERATING WITH MOTION PICTURE PRODUCERS AND DISTRIBUTORS OF AMERICA, INC.
The Nat’l Society of the Sons of the American Revolution
National Society Colonial Dames of America
National Health Council
Boys’ Club Federation
American Historical Association
The American Sunday School Union
Chautauqua Institution
National Safety Council
American Home Economics Assn.
The Nat’l Community Center Assn.
Community Service
American City Bureau
Central Conference of American Rabbis
Safety Institute of America
Child Welfare League of America
Playground and Recreation Association of America
Commonwealth Club
Actors’ Equity Association
The Woodcraft League of America
American Federation of Labor
Jewish Welfare Board
Girl Reserve Department of the Y.W.C.A.
Russell Sage Foundation
Camp Fire Girls
The Council of Jewish Women
National Committee for the Prevention of Blindness
Nat’l Assn. of Civic Secretaries
Cooper Union
National Congress of Mothers and Parent-Teacher Associations
Associated Advertising Clubs of the World
Girl Scouts
American Country Life Assn.
Nat’l Tuberculosis Association
American Child Health Assn.
National Education Association
Federal Council of Churches of Christ in America
General Federation of Women’s Clubs
The Academy of Political Science
National Child Labor Committee
American Civic Association
International Federation of Catholic Alumnæ
Nat’l Catholic Welfare Council
War Dept. Civilian Advisory Board
Young Women’s Hebrew Association
The Girls’ Friendly Society in America
The Nat’l Assn. of Book Publishers
The Nat’l Security League
Daughters of the American Revolution
The International Committee of Y.M.C.A.
N.Y. Child Welfare Committee
Daughters of the American Revolution
The Salvation Army
Young Men’s Hebrew Association
Nat’l Council of Catholic Women
Girl Scouts
American Museum of Natural History
National Council of Catholic Men
Dairymen’s League Co-operative Assn.
National Board of the Young Women’s Christian Associations
International Federation of Catholic Alumnæ
American Library Association
National Civic Federation
Boy Scouts of America
- Transcriber’s Notes:
- Missing or obscured punctuation was silently corrected.
- Typographical errors were silently corrected.
- Inconsistent spelling and hyphenation were made consistent only when a predominant form was found in this book.