Another milestone in film history - this may well have been the very first film to have been developed and shown to its subjects (the members of the Congress of Photographic Societies) on ... See full summary »
A baby is seated at a table between its cheerful parents, Auguste and Marguerite Lumière. While the father is feeding the baby with a spoon, the mother is pouring coffee into her cup. The ... See full summary »
Mrs. Auguste Lumiere,
The sound has been found in the form of an old Edisonian recording cylinder. The cylinder was repaired, then Walter Murch ACE MPSE synced the film to the correct music in (I believe) 2002. Total running time is approximately 17 seconds.
A gardener is watering his flowers, when a mischievous boy sneaks up behind his back, and puts a foot on the water hose. The gardener is surprised, and looks into the nozzle to find out why... See full summary »
The adventures of an inattentive man. He's at his kitchen table, reading. A woman brings his hat and points to the clock. He continues reading and pours coffee into his hat. He leaves, ... See full summary »
Auguste Lumière directs four workers in the demolition of an old wall at the Lumière factory. One worker is pressing the wall inwards with a jackscrew, while another is pushing it with a ... See full summary »
Another milestone in film history - this may well have been the very first film to have been developed and shown to its subjects (the members of the Congress of Photographic Societies) on the same day that they were filmed Written by
Michael Brooke <firstname.lastname@example.org>
This film is a virtual remake of 'Sortie d'Usine', perhaps making it the first self-referential movie. Instead of the workers streaming out of the factory, we have fellow cinematograph specialists disembarking a liner for a congress. Instead of workers silently doing their masters' bidding, we have colleagues, friends, peers, fearlessly greeting the camera as equals.
This is a film about film - the Congressionists walk with their cameras; this film was precessed immediately for viewing at the conference. Already, the Lumieres' desire to 'objectively' record the world has turned into a naval-gazing admission of defeat, of the impossibility of objectivity untainted by subjectivity or ideology. Godard once suggested that the most honest film would be of a camera recording itself in a mirror. This film is an early grasping of what he means.
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