Universal Weekly, May 4, 1935:
It was equipped with flasher lights, giving the display the added advantage of animation."
Universal Weekly, May 4, 1935:
Brooklyn's historic Prospect Hall is slated for demolition. In 1908, the hall and its outdoor gardens were also the studios of the Crescent Film Company operated by Herman Kolle (brother of hall proprietor William Kolle) and Fred J. Balshofer.
Excerpts from One Reel a Week by Fred J. Balshofer and Arthur C. Miller, University of California Press 1967:
“Next to and in connection with the dance hall was an open air summer beer garden. On warm summer evenings neighborhood families would sit around at the separate tables, drink nickel schooners of beer, and watch second-rate vaudeville on a stage raised about seven feet above the ground. A screen rolled down from the arch over the stage and this was used to show movies.
“A song plugger sang popular tunes, accompanied by a piano, while the hand-colored lantern slides on the screen changed according to the lyrics of the song. There was only enough business to warrant operating on Saturday and Sunday evenings. If it rained, people would move into the dance hall and the show would continue there.”
“We used one corner of the summer garden for our open-air studio and, as in the early days of Lubin, daylight was our only source of light for photography. We arranged a tiny laboratory under the stage and bought a used Pathe field camera that had seen better days.”
Motion Picture News, March 1930:
"In this [Italian Baroque] design John Eberson, the architect, has conceived a formal style, drawing away from the over-elaborateness of the French style of Louis XV period.
Motion Picture Herald, December 9, 1939:
...yes, and a fetching one to the city-farmers of Five Points [California], who gather here for mental and emotional subsistence-plus.
He Operates It
The theatre operator's problem was to build a low-cost theatre, as the size of the community would not justify a large expenditure.
He Designed ItS. Charles Lee
Analysis of the budget and the and the area to be covered by the building left the architect--S. Charles Lee of Los Angeles--with funds to build a shell which appeared to be nothing more than a barn. A barn?
The idea crystallized. Why not build a barn project that would be 'artistic,' and clever, and would afford more entertainment by reason of its novelty than a cheap 'modernistic' or similar type of building, where the price would reflects itself in weak substitution of materials? Thus came the idea of the Tumbleweed Theatre.
And here is the town for which it was built (theatre in right foreground).
Motion Picture Herald, February 1, 1941:
"Theatre television as demonstrated by RCA in the New Yorker theatre, New York."
Exhibitors Herald-World, March 16, 1929
Excerpts from an article by Douglas Fox
"Important among the features of the Film Art Guild's new theatre in New York is the 'screenoscope,' designed by Frederick Kiesler of Vienna. In 1918 Kiesler began his plans for an 'ideal motion picture theatre.' It was Kiesler who designed the Film Art Cinema."
"This theatre, which was opened February 1, seats only 485 persons. Yet it incorporates much that is new in both vision and acoustics and combines the greatest projection economy with the utmost in projection scope."
"A section of the lounge, a chamber of modern comfort
and modernistic appointments--in both respects candid to the point of bluntness."
"The auditorium looking towards the rear, showing the arrangement of the indirect lighting
and deeply upholstered, chair-like, blue and silver seating."
"The left side of the auditorium, showing the black wall strip used as a second screen.
The ceiling flares upwards towards the rear."
"The 'camera eye,' half shut.
This feature, called by the inventor the 'screenoscope,' is well shown
in this photograph of the auditorium."
Film Guild Cinema
52 W. 8th Street,
New York, NY
Renamed 8th Street Playhouse on May 14, 1930.
Closed November 26, 1992.