Before Video: A History of the Non-Theatrical Film

By Anthony Slide | Go to book overview

poration of Iowa. Five years later, a final takeover by the Kalart Corporation ended Victor's forty-six years of existence in Davenport, Iowa.

Writing of Alexander Victor in the Journal of the Society of Motion Picture and Television Engineers, Samuel G. Rose commented:

When nearly 80, Victor summarized his early life by saying that he had been an "exhibitor, cameraman, producer, studio owner, script writer and twice an actor." He could have added inventor, designer and manufacturer. Victor had an insatiable enthusiasm and prophetic vision for designing and building equipment to meet the needs of the time in the rapidly changing field of nontheatrical equipment. . . . His interest and enthusiasm never waned and he met "head-on" each new challenge presented to him by designing and producing apparatus to satisfy the needs of the amateur, of industry, of education and of government. . . . Alexander Victor played an important part in the birth and growth of the nontheatrical motion- picture industry. 12

Each year, the theatrical industry's trade annual Motion Picture Almanac publishes a listing of "producers, distributors, or libraries of non- theatrical motion pictures." The number of entries through the years has dwindled considerably, and by 1991 there were only sixty-seven entries. Not surprisingly, the largest number, seventeen, are located in New York. Los Angeles and environs comes third with five. But Chicago is still there, holding second place with seven active companies.


NOTES
1.
Arthur Edwin Krows, "Motion Pictures--Not for Theatres," Educational Screen, vol. XIX, no. 2 ( February 1940), p. 58.
2.
Harold M. Mayer and Richard C. Wade, Chicago: Growth of a Metropolis ( Chicago: University of Chicago Press, 1969).
3.
Quoted on the title page of Edward Wagenknecht, Chicago ( Norman: University of Oklahoma Press, 1964).
4.
F. Allen Burt, American Advertising Agencies: An Inquiry into Their Origins, Growth, Functions and Future ( New York: Harper & Brothers, 1940), p. 25.
5.
"A Specialist in a Fine Art," Photoplay, vol. XV, no. 1 ( December 1918), p. 57.
6.
New York Dramatic Mirror, May 20, 1914, p. 28.
7.
"A Specialist in a Fine Art," Photoplay, vol. XV, no. 1 ( December 1918), p. 58.
8.
Ibid.
9.
According to Hal Guthrie in a letter to the author, June 10, 1985.

-31-

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Before Video: A History of the Non-Theatrical Film
Table of contents

Table of contents

  • Recent Titles in Contributions to the Study of Mass Media and Communications ii
  • Title Page iii
  • Contents v
  • Acknowledgments vii
  • Introduction ix
  • Notes xii
  • One Origins 1
  • Notes 16
  • Two Chicago-- the Non-Theatrical Film Capital of the World 19
  • Notes 31
  • Three the Eastman Kodak Connection 33
  • Notes 43
  • Four Specialization 45
  • Five Film in Education and Religion 59
  • Notes 73
  • Six the Chronicles of America 75
  • Notes 87
  • Seven the 1930s and 1940s 89
  • Notes 105
  • Eight Decades of Progress and Prosperity 107
  • Notes 120
  • Nine the Waning Years 123
  • Notes 136
  • Appendix A: Major Non- Theatrical Distributors of the 1920s 137
  • Appendix B: Major Non-Theatrical 16mm Distributors of the 1930s 141
  • Appendix C: Major Non-Theatrical 16mm Distributors of the 1940s 145
  • Appendix D: Useful Non-Theatrical Addresses 151
  • Selected Bibliography 155
  • Index 161
  • About the Author 172
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