Every history of the early U.S. film industry is obliged to account for the appearance and disappearance of the first major attempt at monopoly: the Motion Picture Patents Company, organized in 1908. In these histories, the federal antitrust suit and the competitive techniques of the independents are generally determined to have been the causes of the Patents Company's failure. Perhaps the most extensive study, and the one on which current scholars rely, is by Ralph Cassady, Jr. His explanation has two 4parts. First, he believes the federal government's intervention in filing the antitrist suit in 1912 was early enough to encourage vigorous independent competition. Secondly, he maintains that the long-run monopoly problem in this case, as in others, perhaps is self-correcting and that, given time, new competitors and, indeed, new methods result in a dissipation of monopolistic control.'9 In two articles, Jeanne Thomas Allen has questioned Cassady's conclusions. As she pointsout, Cassadyis relying on a neoclassical economic model presumes the effects of the State are sporadic, and it intervenes only at necessary points. Furthermore, competition from new technology explains the industrial results. (Neoclassical economists would include the innovation of multiple-reel films under the term technology.) Allen suggests a Marxist analysis might provide a better account,2 and is what this article will seek to provide. Among other points, this study will show laws are not just used by businesses for appeal in the last resort nor are they static, but rather businesses constantly use the process of law as part of their operating tactics for gaining greater control of an industrial market. For example, at stake might be the definition or extent of a law. Or the current interpretation of a law might be changed, allowing companies to use the period of adjudication to their advantage. In this case, ownership and the legal use of patents were at issue. In addition, since both the Patents Company and the so-called independents used forms of Janet Staiger teaches film theory and history at New York University. She is co-author with David Bordwell and Kristin Thompson of The Classical Hollywood Cinema: Film Style and Mode of Production to 1960 (forthcoming).
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