E
E. & H. T. Anthony Company, 379
Early cinema: defined, 2
Eastman, George, 47 , 377 . See also George Eastman House
Eastman Kodak Company, 47 , 87 -88, 266 ;
and film supply agreements, 377 , 436 , 439 -41;
and nonflammable stock, 457
Eaves, Albert G., 121
Edengraph projector, 442
—builds own cinematograph, 118 -19, 121 , 157 , 442
—as Edison licensee, 103 , 125
—and film exhibition: cinématographe Joly, and film fire, 118 ;
Dewey celebration films (1899), 140 -41;
Lumière cinématographe, 98 , 117 -18;
passion play programs, 122 -25;
as permanent venue for film, 118 ;
post-Spanish-American war programs, 138 -39, 172 , 396 ;
Spanish-American war programs, 132 -37, 509 n.72, 510 nn.91, 92
—film production, 120 -22, 127 , 133 , 135 , 138 , 142
—founding of, 116 -17
—loses role as key film center, 142
—waxworks at, 56 , 116 -17, 132 -33, 410 -11, 517 n.78
Edison, Thomas Alva, 1 , 10 , 30 , 373
—and copyright: litigation over, 208 , 134 , 197 , 207 -8, 213 , 237 -39, 240 , 281 ;
methods and submissions, 39 , 93 -94, 103 -4, 114 , 131 , 156 , 207 , 237 , 254
—early efforts to develop motion picture projector, 53 , 58
—as film subject, 69 , 101 , 102
—in historiography, 2
—invention of kinetograph and kinetoscope, 29 -32
—involvement in film production, 47 -48
—legal action against competitors, 12
—as legend and popular hero, 24 , 40 , 60 -61, 62 , 75 , 102 , 117 , 428 -29, 445
—and Motion Picture Patents Co., 439 , 442 , 445
—name exploited by others, 58 -59, 133
—patents: applications, 31 ;
granted, rejected, and reissued, 115 , 196 , 333 ;
infringement litigation, 12 , 114 , 115 -16, 125 , 134 , 144 , 154 , 156 , 178 , 278 , 289 , 333 -34, 335 , 375 -76, 379 -80;
infringement litigation versus Biograph, 115 , 143 , 154 , 155 , 176 -79, 195 , 196 , 289 -90, 333 -34, 375 , 379 -80;
licensees under, 116 , 125 -26, 134 , 154
—purchases film negatives produced by others, 138
—royalties received, 144 -45, 161 , 382 , 442
Edison, Thomas Alva (continued )
—statements on film industry and morality, 428 -29, 430 , 431
—and vitascope: agrees to work with Raft & Gammon, 57 -58;
arranges private screening of vitascope, 59 ;
breaks with Raft &: Gammon, 92 ;
film sales replace equipment as key source of profit, 93 ;
seen as inventor of vita-scope, 59 -60, 62 , 75
Edison licensees, 12 -13, 116 , 142 -45, 156 , 445 ;
arrangements with Paley, 125 -26, 143 ;
arrangements with Vitagraph, 134 , 143 , 154 -55, 161 , 376 -77, 445 ;
coordinated for purposes of film production, 140 -41;
as suppliers of films for Edison Co., 143 -44. See also American Vitagraph Company; Association of Edison Licensees; Eden Musee; Motion Picture Patents Company; Paley, William C.; Patents
Edison Manufacturing Company, 1 , 4 , 13 . See also Edison, Thomas Alva; Edison licensees; Porter, Edwin Stanton; Raft &; Gammon; Vitascope
—assumes control of Edison's motion picture business, 44
—versus Biograph, 91 -92, 95 , 114 , 127 , 143 , 144 , 154 -55, 158 , 161 -62, 276 -77, 280 -82, 291 -92, 333 , 339 , 391 , 397 , 432 , 433 -48, 449 , 451 , 454
—business policies of, 44 -47, 53 -55, 57 -59, 92 , 115 -16, 125 , 156 , 157 -58, 190 , 197 , 198 , 207 -8, 235 , 239 , 241 , 278 -79, 289 -90, 291 -92, 322 -24, 330 -36, 367 , 370 , 375 -77, 384 -86, 391 , 416 -18, 428 -30, 433 -42, 446 , 448 -50, 453 -57, 458 , 463 -64, 471 -75
—Chicago office opened, 279
—commissions films made for others, 190 -92, 333 , 368 , 378
—court cases: sued by Keyes, 323 ;
sued by Outcault, 268 ;
sued for patent interference, 236 -37, 241
—duping of competitors' films, 190 , 192 , 194 , 198 , 235 , 238 , 239 -40, 253 , 256 , 274 , 277 -78, 279 , 516 n.45
—film production (1894-1895), 39 -44, 47 -53, 54 , 56
—film production (1896-1897), 64 -70, 93 -102;
portable camera introduced, 65
—film production (1897-1900), 104 -14, 146 -54;
Crahan's Alaska expedition (1899), 144 -45;
and Dewey celebrations, 140 -41, 143 ;
and Spanish-American War, 125 -28, 131 -32, 146 ;
two production units formed, 105 ;
White's California-Mexico-Far East trip, 105 -12, 114 , 125
—film production (1901-1902), 161 -218;
California-Mexico filming trip, 191 -92;
Pan-American/McKinley films, 184 -90;
story films, 198 -218;
two units active on same day, 176
—film production (1903-1905), 240 -77, 280 -90, 291 -324;
animation, 317 -20;
and The Great Train Robbery , 253 -64;
level reduced drastically by copyright problems, 238 ;
remake of Biograph's Personal , 280 -81;
shift to original features, 282 , 291 ;
subjects raising social issues, 292 -311
—film production (1905-1907), 331 -70;
Bonine's actualities, 367 -69
—film production (1907-1909), 383 -95, 402 -32, 446 -58;
expands to two units, 416 -18;
expands to three units, 448 -49;
expands to four units, 453 , 454 -55;
increasingly criticized, 425 -27, 446 -47, 450 -55;
shift to director-unit system, 450
—film production (1910-1918), 463 -64, 471 -75;
rate of production increases, 463
—films duped by rivals, 92 , 134 , 197 , 207 -8, 244 , 275
—incorporation, 156
—versus International Film Co., 92 , 114
—kinetophone introduced (1895), 53 -54
—kinetophone introduced (1913), 474
—versus Lubin, 143 , 197 , 207 , 244 -45
—versus Lumière, 92
—near-monopoly in film production and sales (1901-1902), 176 -95
—versus Pathé, 277 -78, 282 , 335 -36
—personnel: changes of, 44 , 93 , 105 , 156 , 157 , 160 , 178 , 235 -36, 240 , 265 , 291 -92, 383 , 391 -92, 416 -17, 447 -49, 453 -55;
employees reviewed, 176 , 197 , 291 ;
salaries of, 161 , 178 , 192 , 236 , 240 , 265 , 291 -92, 383 -84, 391 , 417 , 449 , 453 -55
—and Porter: dismissed, 458 ;
hired as cameraman, 160 -61;
hired as equipment builder, 157 -58 (see also Porter, Edwin Stanton)
—projector development and manufacture: Home P. K., 473 -74;
kineto-phone (1913), 474 ;
projectoscopes and projecting kinetoscopes, 92 -93, 151 , 158 , 159 , 237 , 255 , 327 , 329 , 457 ,
vitascopes, 58 , 71 , 74 , 77 , 92
—remakes, imitations, or reworkings by Edison of films originally made by: Biograph, 95 -96, 99 , 102 , 170 , 208 , 245 , 273 , 274 , 276 , 280 -82, 312 -13, 340 , 422 ;
Edison, 101 , 198 -99, 421 -22;
Lubin, 174 , 180 , 286 , 515 n.35;
Lumière, 65 , 67 , 68 -69, 101 ;
Smith, 245 -46;
Williamson, 219 -20
—remakes of Edison films by others, 198 -200, 244 -45
—royalty fees paid to Dickson and Heise, 47
—sales, expenses, and profits, 44 , 47 , 93 , 114 , 142 -43, 145 , 146 , 156 , 159 , 186 , 195 , 240 , 288 -89, 317 -18, 322 -24, 329 -30, 332 , 383 -85, 417 , 448 , 456 , 457 , 464 , 472 , 474 , 475 , 480 -81
—and selling agents, 155 , 278 -79, 482 -85
—studios: Black Maria (1893), 32 , 34 , 36 , 38 , 39 -40, 47 -48, 50 , 64 -65, 101 -2, 113 -14, 115, 158 , 159 ;
Bronx studio (1907), 329 , 340 , 383 , 384 , 384 -90, 391 , 449 , 453 -55, 471 ;
makeshift 28th Street roof-top studio (1896), 69 ;
21st Street studio (1901), 158 -60, 194 , 197 , 253 , 449
—versus Vitagraph, 134 , 158 , 161 , 178 , 197 , 239 , 333 , 375 -76
Edison's Vitascope. See Raft &: Gammon; Vitascope
Editha's Burglar (play), 293
Editing: exhibitor's role in, 5 , 6
—absence of interest in, 64
—choice over length of shot, 175
—interweaving slides and film, 122 -24, 136 , 145 , 173 , 234 , 288 , 369 -70, 523 n.25, 524 n.51
—organization of shots suggested by producers, 98 -99, 167 -69, 208 , 249 , 262
—sequencing of shots and scenes into narratives, 95 , 103 , 105 , 110 , 112 , 119 , 186 , 208 , 284 , 309
—temporal and spatial continuities suggested between shots, 99 -100, 194 , 261 , 513 n.166
Editing: producer's role in, 316 , 455 , 493 n.18
—alternate arrangements of scenes, 271 , 309
—assumes increasing control over, 5 , 157 , 169 , 172 -73, 182 -84, 201 -2, 268 -70, 332
—contested or shared with distributor, 182 -84, 309
—contested or shared with exhibitor, 109 -10, 167 -68, 184 -85, 188 -89, 190 , 261 -65, 284 -85, 309
—early instances of multi-shot films: actualities, 68 , 104 -5, 107 -8, 109 -10, 148 -49, 151 -53, 184 , 194 ;
fiction, 149 -51, 169 -72, 180 -84, 198 -200, 201 -7, 209 ;
reenactments, 188 -90
—legacy of exhibitor's role in, 226 , 261 -65, 271 , 284 -87, 309
—reworking of older materials, 267 , 285 , 286 -87, 419
—techniques: associational relations between shots, 250 ;
constructing spatial and temporal relationships, 174 , 181 -83, 188 -90, 198 -200, 201 -7, 209 -11, 224 -30, 246 -49, 254 -56, 300 -301, 313 , 313 , 342 , 350 , 351 , 357 , 358 , 359 , 404 , 412 ;
contrast, 148 , 182 -84, 300 , 406 ;
cut-ins to closer view, 152 -53, 245 -49, 304 , 342 , 524 n.48;
cut-outs to establishing shots, 152 , 342 , 513 n.165;
dissolves, 64 , 172 -73, 181 , 182 , 186 -89, 198 , 201 , 202 ;
dream construction, 174 ;
invisible cuts, 105 , 107 -8, 173 , 409 ;
match cuts, 205 -7, 225 -26, 227 , 405 , 416 ;
overlapping action, 209 -11, 224 -30, 309 , 311 , 359 , 404 , 410 , 461 , 477 , 515 n.23;
parallel editing, 225 -26, 227 , 303 , 404 -5, 416 , 424 , 450 , 462 ;
point-of-view structures, 174 , 246 , 261 , 273 , 345 -46, 419 , 524 n.48;
providing multiple perspectives, 148 -49, 194 , 221 , 223 -26;
stop-motion substitutions, 55 , 167 , 171 , 245 , 288 ;
tag or tableau endings (apotheoses), 169 -72, 204 -5, 250 , 264 -65, 271 (see also Dissolves; Representational practices; Temporality)
Editorial cartoons. See Political cartoons
Edward VII, 197 -98
Eidoloscope projector, 53 , 57 , 77 , 90
Eisenstein, Sergei, 227 , 406 , 476
Electricity, 25 , 28 , 75 , 83 , 84 -85, 274
Elmendorf, Dwight, 234 , 536 n.94
Elmore, Eugene, 133 -36
Emblematic shots, 173 , 250 , 264 -65, 318 , 344 , 358
Emerson, Mary, 253
Empire Film Exchange, 440 , 444 -45
Empire Trust Company, 438
Engel, Joseph, 459 -60, 548 n.8
Englehardt Sisters, 50
Esquirel, Pedro, 50
Essanay Film Manufacturing Company, 329 , 375 , 377 , 382 , 417 , 473 , 535 n.74
Ethnic stereotypes. See African Americans; American Indians; Asians; Jews; Racial prejudice; Stereotypes
Evans, Charles E., 113
Everson, William, 233 , 254 , 297
Exhibition services: fees for, 60 ;
replaced by film exchanges, 280 . See also individual companies
Exhibition venues:
—as places to express jingoistic emotions, 127
—types: arcades, 326 ;
carnivals, 142 ;
churches, 251 ;
circuses, 137 ;
Coney Island, 67 ;
Eden Musee, 116 -19, 120 -25, 132 -37, 138 -39, 140 -42;
expositions and fairs, 55 , 142 ;
kinetoscope parlors, 42 , 44 -47, 48 , 49 , 75 ;
lecture halls, 369 ;
nickelodeons, 320 -21, 325 -29, 330 , 336 , 372 -73, 374 , 378 , 380 -81, 392 -93, 395 -402, 407 , 427 -32, 443 , 445 , 532 nn.5-6;
playhouses, 22 -23, 78 -79, 89 -91, 119 -20, 327 ;
small-town opera houses, 326 , 474 ;
storefront theaters, 326 ;
summer parks, 91 , 251 , 326 ;
vaudeville, 60 -64, 77 -78, 79 -84, 88 , 91 , 92 , 126 -27, 129 -31, 133 -34, 138 , 141 -42, 151 , 264 , 273 , 308 , 325 -26, 327 , 374 , 396 -97, 399 , 409 , 443 -44, 474
Exhibitors. See also Exhibition services; Exhibition venues; Traveling exhibition
—creative role of, 5 , 103 , 117 , 137 ;
in developing variety programs, 137 ;
in grouping films by subject matter, 93 -94, 99 , 129 -31, 132 -33, 138 , 175 -76, 186 , 208 ;
residual influence on later cinema, 226 , 284 -90;
in reworking programs over time, 124 -25, 134 -36, 142 ;
in selection and arrangement of images and scenes to construct multi-shot narratives, 94 -95, 99 -100, 103 , 112 , 119 -20, 122 -25, 135 -37, 148 , 201 -2, 284 , 287 , 509 n.68;
shared with or contested by the distributor, 523 n.32;
shared with or contested by the producer, 99 , 124 -25, 186 , 262 -64, 284 , 287 , 509 n.68, 524 n.51, 541 n.135
—methods employed, before cinema, 9 , 100
—and responsibility for shift from distributor to theater, 284 , 332
—and use of film loops, 63 -64, 78 , 84
—and use of sound accompaniment, 103 , 226 , 394 , 402 ;
lectures, 124 , 176 , 202 -5, 226 , 244 , 255 , 296 -97, 301 , 357 , 366 -67, 369 -70, 395 -96, 401 , 403 , 450 ;
music and song, 53 -55, 124 , 130 , 134 , 136 , 149 -52;