One toddler and about ten children, not yet adolescents, use a shovel, rakes, and nets to scour an eddy by the sea as fully-dressed women (hats and all) and a few men look on and give ...
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In commedia dell'arte style, an actor on a stool presents six distinct characters through speedy application of whiskers and a hat or, in one case, a wig followed by a few gestures. First ... See full summary »
Fin de siécle elegance. A parade of sorts passes in front of a stationary camera. An ostrich pulls a cart in which two well-dressed girls sit, two mules pull a large cart full of children, ... See full summary »
A photographer has his camera all set up to take a gentleman's picture. The subject checks his face in a hand mirror, and the photographer poses him. Just as the photographer is about to ... See full summary »
A stationary camera is set at a curve in the train tracks, with the Brooklyn Bridge in the background. From the bridge, a four-car streetcar approaches and turns to he viewer's left. As it ... See full summary »
In the foreground, smoke billows. Four horse-drawn fire wagons approach and pass in front of a stationary camera. Two horses draw each wagon, and each wagon carries from two to eight ... See full summary »
A stationary camera looks across a busy corner toward a store front marked "The Divan." The words "des fees" are beneath. A cortege of Arabs, about 20 persons in the party, walk past; the ... See full summary »
We see a working dog, a beggar's dog, a shepherd's dog, and a milkman's dog. The working dog is locked inside a large wire wheel; the dog runs inside the wheel, turning it to run a machine.... See full summary »
Wintertime in Lyon. About a dozen people, men and women, are having a snowball fight in the middle of a tree-lined street. The cyclist coming along the road becomes the target of ... See full summary »
A male lion, right next to bars that are about 6 or 8 inches apart, keenly watches a uniformed zoo attendant toss small morsels of food into the cage. The lion alternates between finding ... See full summary »
This is another one of our famous scenic films which is a revelation of the beauties of the historic Russian city, showing it clad in a blanket of snow and giving us a good view of the many... See full summary »
Footage shot not long after the 1906 earthquake in San Francisco is edited together so that more than one scene and more than one vantage are included. We see fire raging. We see burned-out... See full summary »
One toddler and about ten children, not yet adolescents, use a shovel, rakes, and nets to scour an eddy by the sea as fully-dressed women (hats and all) and a few men look on and give advice. The boys are in short pants; the girls have pulled up their skirts and petticoats and stuck in their sashes. Not a clam is to be seen, although one lass checks her net a couple of times. The children's outfits (trim hats on each child and lace on each girl) suggest wealth and high society.Written by
This is an approximately 45-second long Lumiere Brothers actuality of children digging for clams in a tidal pool on a broad beach, with adults behind them. A donkey cart moves across the middle ground before exiting the right hand side of the frame. Far in the distance, you can see other scattered people on the beach, and beyond that, mountains. This is also known as "Lumiere No. 45".
It is interesting to note the similarity in visual composition between this short and the Lumiere Brothers' Swimming in the Sea (Baignade en mer, 1895). They use the same oblique angle here, only this time it is slightly more complex, being suggested by the tidal pool (and subsequently the children traipsing up and down looking for clams), the two pairs of adults standing along one side of the tidal pool, and the mountains. As in Swimming in the Sea, the oblique exaggerates perspective, providing great depth of field, which is further enhanced by the aerial perspective of the mountains in the distance. This technique appears continually in the Lumiere Brothers actualities.
Another recurrent compositional technique is the Lumiere Brothers' fondness for cyclical action, provided in Children Digging for Clams by the titular youngsters. The action is made even more complex here by the donkey cart and the layering--there are at least four layers of visual interest, counting the mountains, five if we count the expanse of sand between the second layer of adults and the scattered people in the distance.
Unlike many actualities, this short gives a charming, "homey" feeling for the era, putting the viewer right in the middle of this recreational outing. You wish you could pick up a net and participate.
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