Lobbyology and the Role of Lobby Spectacles in Silent-Film Exhibition

Abstract

This article traces the development of lobby spectacles from the crude ballyhoo methods of the early nickelodeon era to the lavish, multisensory displays of the 1920s picture palace. I focus largely on two case studies—The Thief of Bagdad (1924) and The Arab (1924)—and demonstrate how exhibitors crafted thematically cohesive experiences from curb to curtain. By examining these two productions within the context of silent-era exhibition practices, we see a trajectory that moves from individual and localized efforts to more standardized and corporatized national campaigns, which continue to inform the industry's in-theater marketing strategies.