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1952 Theatre Catalog, 10th Edition, Page 154 (120)

1952 Theatre Catalog, 10th Edition
1952 Theatre Catalog
1952 Theatre Catalog, 10th Edition, Page 154
Page 154

1952 Theatre Catalog, 10th Edition, Page 154

Asbestos Curtain

The seats are entirely shut off from the projection booth by a fire-proof wall. Should a fire start in the booth, the asbestos curtain#standard equipment at all Trans-Lux houseseis immediately lowered. The audience, seeing nothing on the screen, leaves the theatre away from the booth, instead of toward or under it, and there is little likelihood of panic.


Special lighting effects at the TransLux type theatre bathe the house in a soft, eye-soothing glow which adds greatly to the enjoyment of the picture and makes it possible for patrons to find seats without the aid of an usher.

Equipment May Be Leased

For quite some time after Trans-Lux was inaugurated, restrictions were placed on the number of its special screens and equipments that were leased to theatre owners other than those connected with the company. But the policy toward outsiders desiring to use TransLuxls rear projection equipment has been broadened in scope, and the company is willing to lease its equipment, provided the lessee meets the qualifica

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A COMPACT DESIGN, to island the iron! in an active business location. can also be accomplished through weighty poster cases and a central boxoiiice.

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tions in financial responsibility and in the operation of his theatre.

The relatively low cost of a TransLux theatre and its unusual ability to operate in a rented store building make it possible for an enterprising exhibitor to start a chain of theatres without spending impractically large amounts of money. Moreover, since the theatre rents its Space, its entire equipment can be moved to follow the shifting of heavy traffic centers.

Meeting the Demand

Just as a growing interest of the public in current events gave rise to the newsreel theatre, and as refinements in public taste encouraged the growth of the art house, the new demand for more high quality, adult pictures has created the need for a special theatre to cater to an increasingly discriminating movie-going public. The run house is the answer.

A small, intimate theatre, showing only the cream of the current film crop, is tailor-made to the needs of the motion picture industry today. At a time when it takes an extraordinarily good picture to draw people away from their television sets in large numbers (as an examination of the years boxoffice leaders will affirm), a theatre dealing in only extraordinarily good pictures

cannot fail to prospereprpvided it is situated within ready access to those large numbers of people, and is operated on a low overhead basis.

The Run House and the Future

As a permanent policy, the long first run of quality pictures offers a concrete solution to some of the industryis problems. The owner of the run house, owners of neighborhood theatres who later book in the run housels highly advertised attractions, and the distributor, all stand to benefit by the policy.

The examples of the policy in operation, as demonstrated by the Trans-Lux houses in Washington and Philadelphia, show that the plan can be highly successful. Applied in other cities on a na ' tional scale, either in existing theatres

which now operate on a policy of newsreels, art, specialty, or foreign films; or in new theatres, designed expressly as run houses, the plan may prove to be a tremendously important factor in the future prosperity of the industry. It also answers the current problem of too fast a playoff, resulting from the trend toward shorter clearances between runs, that prevents many patrons from seeing pictures they want to see because they haven't the time availability as the pictures speed through their







1952 Theatre Catalog, 10th Edition, Page 154