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The American Silent Cinema and the Marginalization of Advertising Georgia State University ScholarWorks @ Georgia State University Communication Dissertations Department of Communication Summer 6-26-2013 Profit Margins: The American Silent Cinema and the Marginalization of Advertising Jeremy W. Groskopf Follow this and additional works at: https://scholarworks.gsu.edu/communication_diss Recommended Citation Groskopf, Jeremy W., "Profit Margins: The American Silent Cinema and the Marginalization of Advertising." Dissertation, Georgia State University, 2013. https://scholarworks.gsu.edu/communication_diss/47 This Dissertation is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. PROFIT MARGINS: THE AMERICAN SILENT CINEMA AND THE MARGINALIZATION OF ADVERTISING by JEREMY GROSKOPF Under the direction of Kathryn H. Fuller-Seeley and Ted Friedman ABSTRACT In the early years of the twentieth century, the unique new medium of motion pictures was the focus of significant theorization and experimentation at the fringes of the American advertising industry. Alongside the growth of the nickelodeon, and the multiple shifts in the American cinema’s business model in the ‘transitional era,’ various individuals at the margins of the advertising industry attempted, and most often failed, to integrate direct consumer-goods advertising regularly into motion picture theaters. Via techniques as diverse as the glass slide, the commercial trailer, and the advertising wall-clock, cinema patrons of the 1910s witnessed various attempts by merchants and manufacturers to intrude upon their attention in the cinema space. Through research in the trade presses of the cinema, advertising, and various consumer goods industries, along with archival ephemera from the advertising companies themselves, this dissertation explores these various on and off-screen tactics for direct advertising attempted in silent cinemas, and their eventual minimization in the American cinema experience. Despite the appeal of the new, popular visual medium of cinema to advertisers, concerns over ticket-prices, advertising circulation, audience irritation, and the potential for theatrical ‘suicide-by- advertising,’ resulted, over a mere fifteen years, in the near abandonment of the cinema as an advertising medium. As a transitional medium between the 19th century forms of print and billboarding, and 20th century broadcasting, the silent cinema was an important element in the development of modern advertising theories. INDEX WORDS: Advertising, Silent cinema, Transitional era, Film exhibition, Film spectatorship, American cinema, Magic lantern, Trailer, Animation PROFIT MARGINS: THE AMERICAN SILENT CINEMA AND THE MARGINALIZATION OF ADVERTISING by JEREMY GROSKOPF A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the College of Arts and Sciences Georgia State University 2013 Copyright by Jeremy Wade Groskopf 2013 PROFIT MARGINS: THE AMERICAN SILENT CINEMA AND THE MARGINALIZATION OF ADVERTISING by JEREMY GROSKOPF Committee Chairs: Kathryn H. Fuller-Seeley Ted Friedman Committee: Alisa Perren Cynthia B. Meyers Electronic Version Approved: Office of Graduate Studies College of Arts and Sciences Georgia State University August 2013 iv A moving-picture audience ought to be an inspiration to an advertising man. I have sat in a moving-picture theater full of kids and grown-ups and have thought, 'If I only knew how to reach these people, I would know all about advertising.' - Don Herold, September 1915 v ACKNOWLEDGEMENTS Regardless of attribution of authorship, a dissertation is a community effort. What is contained within these pages has been immeasurably improved by intellectual and emotional support from numerous people. In the former category, my committee – with special thanks to Kathy – has helped to massage this project from nebulous concept to functioning dissertation. Archival support from Lynn Eaton at Duke, and Dennis Daily at the Penrose Library in Colorado Springs streamlined my research significantly, and both led me in very useful directions. David Boutros from the State Historical Society of Missouri was invaluable during a moment of long- distance research. The impact of prior teachers is also apparent in these pages, especially that of Matthew Bernstein, who guided me through my thesis and who taught me so much about researching and writing. Perhaps more valuable than information, to a dissertator, is the emotional maintenance which helps one to survive the process. All of my friends, both local and distant, have assisted me through this process in some way. However, Ian Peters deserves special mention for performing admirably as both occasional research-monkey and frustration-sponge, not to mention the countless hours of entertainment. My now two-year old daughter Ivy should also be singled out for praise for both improving my productivity and helping me to remember that, even in academia, there is such a thing as down-time. And she’s cute too. And, of course, my wife Jennifer – who helped me survive my dissertation only a few years after finishing her own – was both advisor and ally in one, for which she deserves both the final and most appreciative thanks. vi TABLE OF CONTENTS ACKNOWLEDGEMENTS ............................................................................................................ v CHAPTER 1. INTRODUCTION: THEATERS, COMMUNICATION, AND ADVERTISING IN THE AMERICAN SILENT CINEMA ...................................................................................... 1 Topics and Terms ........................................................................................................................ 6 Technological ‘Failure’ and the Study of History .................................................................... 10 Literature Review: Media Studies ............................................................................................. 16 Literature Review: Advertising History .................................................................................... 27 Literature Review: Silent Era Cinema Advertising ................................................................... 36 Scaffolds and Structure ............................................................................................................. 41 CHAPTER 2. “A NOVEL AND IRRESISTIBLE MAGNETISM”: ADVERTISING LOOKS AT CINEMA, 1908-1921 ............................................................................................................. 49 Medium Specific Psychology and the ‘Passive’ Cinema Spectator .......................................... 51 The Captive Audience and Receptive Mood .............................................................................. 56 The ‘Combative Spirit’ and Film’s Stagnation as an Ad Medium ............................................ 60 The Happy Captive and Twentieth Century Advertising ........................................................... 63 CHAPTER 3. “THE FRONT COVER MEDIUM”: MAGIC LANTERN SLIDES, TEMPORALITY, AND ONSCREEN ADVERTISING .............................................................. 68 What Was a Lantern Slide? ....................................................................................................... 71 A Brief History of the Early American Slide Advertising Industry, 1908-1922 ........................ 77 Why Slide-vertising? ............................................................................................................... 120 Why Not? ................................................................................................................................. 130 ‘Slide Psychology’ ................................................................................................................... 134 vii Technological Slides – Spectacle and Practicality ................................................................. 138 Conclusion ............................................................................................................................... 146 CHAPTER 4. “SCREEN SUGAR PILLS”: THE COMMERCIAL TRAILER AND THE MARGINALIZATION OF ONSCREEN ADVERTISING ....................................................... 148 What Was a ‘Trailer’?............................................................................................................. 151 A Brief History of the Advertising Trailer, 1914-1922 ........................................................... 159 Why Trailer Advertising? ........................................................................................................ 192 Why Not? ................................................................................................................................. 202 Case Study - The Alexander Film Company and the ‘High Class’ Trailer............................. 207 Conclusion ............................................................................................................................... 217 CHAPTER 5. WATCH THIS SPACE: PERIPHERAL ADVERTISING THROUGH TECHNOLOGIES ...................................................................................................................... 220 Rethinking the Theater and Its Relationship to Advertising ................................................... 224 Frames ....................................................................................................................................
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