Between the advent of print advertising and the dawn of radio came
cinema ads. These ads, aimed at a captive theater audience, became
a symbol of the developing binary between upper-class film
consumption and more consumerist media. In Profit Margins, Jeremy
Groskopf examines how the ad industry jockeyed for direct
advertisement space in American motion pictures. In fact,
advertisers, who recognized the import of film audiences, fought
exhibitors over what audiences expected in a theater outing.
Looking back at these debates in four case studies, Groskopf
reveals that advertising became a marker of class distinctions in
the cinema experience as the film industry pushed out advertisers
in order to create a space free of ads. By restricting advertising,
especially during the rise of high-class, palatial theaters, the
film industry continued its ongoing effort to ascend the cultural
hierarchy of the arts. An important read for film studies and the
history of marketing, Profit Margins exposes the fascinating truth
surrounding the invention of cinema advertising techniques and the
resulting rhetoric of class division.
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