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 ...
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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 »
A stationary camera captures the hustle and bustle of Manhattan on Broadway at Union Square in Greenwich Village. As streetcars pass with rapid regularity, two police officers make sure ... See full summary »
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 »
Members of the French Photographic Society arrive from a riverboat to their congress venue in Neuville-sur-Saône on a summer day. They go ashore across a wooden landing stage. Among the ... 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 »
Walking four abreast, in groups of six rows, 144 of Chicago's finest parade past a stationary camera. Each of the six groups that pass is escorted by an officer. All are men, all are white,... See full summary »
Carmaux is in south-central France, near the Tarn River. As a brick of coke, about four feet high and three feet wide, is gradually pushed out of a smelter into a yard, one worker sprays it... See full summary »
A woman and a young girl each carry containers of bird feed, and they toss occasional handfuls to the chickens and doves in the farmyard. Most of the chickens stay nearby, but the doves occasionally fly off and then return to eat more.
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 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 »
A satire on the way that audiences unaccustomed to the cinema didn't know how to react to the moving images on a screen - in this film, an unsophisticated (and stereotypical) country yokel ... 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 passes, a train going toward the bridge passes on the tracks in front. It has four cars as well, with a few passengers aboard. A train engine that is moving backwards follows that train. A man atop a tall ladder works on a light pole.Written by
One of the pleasures of watching the Lumiere's movies from the 1890s is that they understood composition and the fact that things had to move: no stationary shots of the Brooklyn Bridge, this. Instead, the bridge, only about a decade old then, serves as a backdrop for the constant motion of trains, steam and other items of interest. Even though this film lasts only about ten seconds, the eye is kept busy following events: something Edison's people took a decade to begin to understand.
Compare this with, say the work of James White, or VIEW FROM THE NORTH RIVER: a slow, leisurely, boring examination of docks that do nothing. The secret of how to make an interesting movie was already in hand. It just took a while for anyone else to understand.
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