Word: exhibitors
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Dates: during 1960-1969
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...Youngest exhibitor of all is Al [Alfred J-] Smith (b. 1949), a Boston University student. One would never suspect his youth from the four paintings he has in the show: the punningly titled "King of Spades," "After the War," "Crucifixion," and "The Feast." Smith is also a poet, and he brings a poet's imagination and fantasy to this quartet of allegories. These are sophisticated and profound works. They also have intriguingly enigmatic features, which keep the viewer standing in front of the canvases for a long time. Favoring subdued colors, Smith has executed these oils with complete technical assurance...
...years following the course, McClelland and Winter periodically measured its effect. Some of the case histories, they report, read like Western success stories. A film exhibitor in the city of Kakinada expanded into the ticket-printing business and now supplies 45 theaters in four states. The owner of a small radio shop opened a branch office which he turned over to a woman manager (an unprecedented delegation of responsibility in India), called in an outstanding loan and established a paint and varnish factory...
...Senate Judiciary Committee by Republican Strom Thurmond, the gentleman Torquemada from South Carolina. Thurmond continued to ham mer at an emotional, if elusive issue: pornography. He condemned the fact that Fortas had voted with the court majority in a 5-to-4 decision holding that a Los Angeles exhibitor did not violate the law with his raunchy films. The ruling made it easier for U.S. exhibitors to show films featuring total male and female nudity...
...first-run movie houses. Eight are Sack Theatres. Of the remaining eight independent theatres, one deals mainly in Cinerama, four others usually deal in foreign films. Thus, it is Ben Sack who chooses the majority of American films to be presented in Boston. Sack, who merely acts as an exhibitor, could not be charged with any sort of monopoly violations. But the temptation so to accuse him remains...
...looked like a cinema exhibitor's dream, a remembrance of prosperity past, a pre-TV anachronism. In France one day last week, from the Champs Elysées to the quays of Marseille, customers outside movie houses pressed in queues three or four abreast. At the Wepler theater on Paris' Place Clichy, where Goldfinger was playing, patrons actually crashed through heavy glass doors. And "National Defend French Cinema Day," as it was called, would have produced the fattest 24-hour box office in history except that there was no box office-all the films were on the house...