Subject and Name Index
A
Abadie, Alfred C., 176 , 179 , 249 , 251 , 252 , 275 -76, 286 , 291 , 370 , 516 n.53;
in Europe and Middle East, 197 -98, 209 , 234 , 240
Acting and Actors. See also Reenactments
—development of professional film actors and stock companies by film manufacturers, 253 -54, 260 , 391 -92, 417 , 455 , 461 , 466 -67, 540 n.80
—dubbing dialogue behind screen, 138 , 396 -402
—female impersonators, 55 , 169 , 171
—methods and styles of: presentational approach, 8 , 189 -90, 200 , 242 , 451 , 457 -58, 464 -65;
verisimilar approach, 189 -90, 463
—nonprofessional, in films, 146 -48;
laboratory staff as, 31 -33, 254 ;
production personnel as, 148 , 187 , 212 -14, 516 n.53
—quality of film performances judged, 415 , 422 , 424 , 427 , 447 , 451
—theatrical personnel: and filmmaking, 50 , 51 , 51 , 52 , 64 , 65 , 138 , 253 -54, 267 , 268 -72, 364 -65, 391 -92, 464 -68;
as represented in film, 391 -92
—vaudeville performers, 39 -41, 41, 42 , 43 , 50 , 55 , 64 , 65 , 69 , 169 , 173 , 179 , 321 -22, 397
—wild west show and rodeo performers, 50 , 51 , 174 , 275 -76, 323 , 360 -63
Actologue Company, 399 -400
Actophone Company, 459
Actualities. See also Film subjects; Reenactments
—versus acted/fiction film, 63 , 67 , 160 , 276 , 282 -84, 292 , 370 , 378 -79, 528 nn.139, 140
—declining appeal of, 195
—inexpensive nature of, 95 -96, 108 , 109 , 284 , 368 , 528 n.139, 531 n.55
—relabeling of films, 126 , 193
—repertoire of techniques used for, 105 , 107 , 211 ;
applied to fiction films, 211 , 225 , 249 -50, 259
—subgenres: industrial films, 322 , 370 , 378 , 457 , 531 n.55;
local views, 65 -66, 96 -98, 251 , 284 , 378 -79, 537 n.30;
news films, 67 , 68 -69, 98 , 101 , 104 -5, 112 , 117 , 119 -20, 126 -33, 135 -36, 138 , 140 -41, 142 , 143 , 154 , 161 , 175 , 176 , 184 -86, 187 , 190 , 208 -9, 251 , 252 , 253 , 275 , 276 , 284 , 286 , 289 , 291 , 322 -23, 367 -68;
quotidian views, 63 , 65 -69, 79 , 84 , 86 , 93 -96, 101 , 102 , 105 , 106 -7, 148 -49, 151 -52, 161 , 208 , 251 ,267, 276 , 291 , 323 , 324 ;
travel films, 84 , 95 -96, 97 -98, 108 -12, 122 , 144 , 152 -53, 209 , 240 , 249 , 264 , 274 , 285 , 368 -71, 457 , 506 -7n.5
Admission fees (ticket prices): at Eden Musee, 120 ;
at nickelodeons, 325 , 372 , 378 ;
at storefronts, 86
Advertisements: for films, 133, 256 , 316 ,
Advertisements (continued )
for projectors, 158 , 255 , 442 , 545 n.33
Advertising films, 119 ;
self-promotion in films, 69 , 101 , 102 , 129 -31
African Americans: representations of, 50 -51, 69 , 84 , 101 -2, 303 , 312 -14, 422 , 530 -31n.29
Aladdin and His Magic Lamp (musical), 383
Albany Evening Journal , 195
Albee, Edward Franklin, 23 , 88
Alexandrov, Grigori, 476
Alice in Wonderland (book), 350
Allen, Robert C., 10 , 162 , 283 -84, 502 n.48, 532 n.5
American Cinematograph, 118 , 508 nn.30, 36 . See also American Cinematograph Company; Cmématographe projector (Joly); Schneider, Eberhard
American Cinematograph Company, 119 , 131 , 133 -34, 140 , 510 nn.91, 92
American Indians: representations of, 50 , 55 , 108 , 109 , 276 , 425 -26
American Mutoscope & Biograph Company, 13
—and Armat patents, 379
—and attempt to buy Edison's motion picture interests, 156
—and biograph camera, 91
—copyright practices, 281 -82
—court cases: Edison patent litigation against, 115 , 143 , 154 , 155 , 176 -79, 195 , 196 , 289 -90, 333 -34, 375 , 379 -80;
sues Edison Co. for copyright violation, 281 -82
—as Edison rival, 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
—exhibition service, 91 -92, 141 , 142 , 143 , 162 -63, 178 , 182 , 196 , 239 , 253 , 280 -81, 509 n.72;
and Spanish-American War, 126 -27
—film gauge, 178 ;
and shift to 35mm, 196 -97, 239
—film production (1895-1900), 70 , 99 , 127
—film production (1901-1908), 163 , 220 , 226 , 241 -42, 273 , 276 , 314 -15, 339 , 355 ;
chase films, 260 ;
new emphasis on multi-shot fiction films, 253 , 256 , 276
—film production under Griffith (1908-1909), 425 -26, 437 , 450
—film sales, 196 -97, 280 , 381 , 437
—films as source for Edison productions, 95 -96, 99 , 102 , 170 -71, 208 , 245 , 273 -74, 276 , 280 -82, 312 -13, 340 , 422
—in financial crisis, 176 -78, 239
—and Motion Picture Patents Co., 434 -42
—patents: and Biograph Association of Licensees, 379 -82, 434 ;
litigation involving, 380 ;
and rivalry with Edison, 333 -34, 377 -79
—personnel changes, 291 -92, 384
—remakes Edison films, 163
—studios, 253 , 339 , 524 n.54
American Mutoscope Company. See American Mutoscope & Biograph Company
American Sportagraph Company, 139 -40
American Vitagraph Company:
—develops reframing device for projector, 134 , 158 , 442
—as Edison licensee, 134 , 143 , 154 -55, 376 -77, 445 ;
agreement terminated, 161
—exhibition service, 134 , 141 , 142 , 144 , 178 , 197 , 218 , 239 , 280 ;
acquisition of foreign films for, 144 , 239
—film production (1898-1905), 134 , 141 , 143 , 144 , 172 ;
resumed (1902), 197
—film production (1905-1911), 12 , 329 , 331 , 334 , 355 , 375 , 378 , 404 , 406 , 417 , 422 , 423 , 437 ;
shift to a director system, 449
—old subjects sold to Edison Co., 192
—sued by Edison, 134 , 333 , 375 -76;
and Motion Picture Patents Co., 437 -38, 442 , 445 , 449 -50
America's Cup races, 141 , 190 , 251
Amusement parks, 320 -21. See also Coney Island
Amusement Supply Company, 522 n.33
Anderson, Gilbert (George) Maxwell (Max Aronson), 253 -54, 263 , 267 -68, 271 , 329 , 339 , 377 , 525 n.59
Animation, 317 -20, 323 , 331 , 350 , 409 , 410 , 531 n.29
Animatographe projector, 107
Annabelle. See Whitford, Annabelle
Anti-Semitism, 237 , 351 -53, 352 , 382 , 428 , 539 n.58
Antonio, Emil de, 476
Arbuckle, Roscoe "Fatty," 476
Arden, Edwin, 316
Armat, Thomas, 439
—and introduction of vitascope, 57 -60, 501 n.7, 503 n.62
—as projectionist, 60
—and projection patents, 71 , 92 , 178 , 522 n.8;
infringement suits, 236 -37;
Motion Picture Patents Co., 438 , 441
—proposes patent combination, 178 -79, 237
—relationship with Raft & Gammon, 57 -60, 70 -72
—sells films to Edison Co., 274 , 326 -27n.103
Armat Moving-Picture Company, 178 , 236 -37, 379 -80, 436 , 438 , 442 . See also Armat, Thomas
Armitage, Frederick S., 417 -18, 421 -22, 426 , 446 -47, 449 , 455 -57
Aronson, Max. See Anderson, Gilbert (George) Maxwell
Artistic Glimpses of the World (illustrated lectures), 145
Asbury Park Amusement Company, 53
Asians: representations of, 50 , 52 , 69 , 84
Association of Edison Licensees, 13 , 376 -79, 382 , 433 , 440 . See also Edison, Thomas Alva; Edison licensees; Film Service Association; Motion Picture Patents Company
Audiences. See also Reception of films, factors in; Voyeurism
—children, 117 , 200 , 205 , 343 -44, 349 -51, 427 -28, 430 -31, 432
—and class differences, 366 ;
middle class, 116 -17, 292 -304, 305 -17, 327 , 328 ;
working class, 326 -27, 355 , 428
—as depicted in films, 104 , 105 , 107 , 179 -80, 246 , 251 , 252
—and gender: men as spectators, 40 , 47 , 107 , 179 -80, 246 -47, 346 -47;
women as spectators, 31 , 42 -44, 179 -80, 306 , 346 -47, 394 , 428
Auerbach, Erich, 227
Au Téléphone (play), 424
Authorship, 157 ;
exhibitors as authors, 136 , 176
Automobiles, 143 , 192 , 256 , 296 , 390 , 412
Avant-garde cinema, 550 nn.75-76
B
Bacigalupi, Peter, 45 , 78 , 156
Bad-boy films, 143 , 267 -72, 312 , 342 -47, 363 , 415 , 422
Baker, D. B., 433
Balsley, Charles H., 18
—collaborates with Porter on invention, 25 , 26 , 160
—as stringer for Pathé News, 91
—and vitascope, 74 -86;
in Indiana, 88 -91;
in Los Angeles, 81 -86;
picks up vitascope in New York, 75 ;
in San Francisco, 77 -81
Balsley, James Robinson, 18 , 21 , 25
—and vitascope, 74 ;
anxiety about rival machines, 76 ;
buys rights to California, 75 ;
buys rights to Indiana, 74 -75
Barnes, John, 3
Barnes, Justus D., 253 , 417 , 525 n.59
Barnum, P. T., 102
Barnum and Bailey's Circus, 52 , 100 -101
Barnum's Circus, 23
Baucus, Joseph D., 46
Bauman, Charles, 445
Bazin, André, 211
Beadnell, William, 119 , 121 , 133 , 508 n.36, 510 n.92
Beck, George, 77
Benson, Erastus, 45
Bergson, Henri, 311
Bernhardt, Sarah, 464 -65
Bertoldi, Ena, 40
Bial, Albert, 67
Bianchi, Joseph, 444
Biddie brothers, 167 -68, 193 -94
Bijou Theater (Harrisburg, Pa.), 92 -93, 96 -98
Billboard , 395
Bingham, Police Commissioner Theodore Alfred, 428
Biograph. See American Mutoscope & Biograph Company
Biographical legend, 58 , 60 , 382 , 445
Black Diamond Express, 95 -96, 98 , 99 , 241
Black Maria studio, 32 -34, 36 , 64 -65, 66 , 112 , 113 , 158 , 159
Black Patti, 80
Blacks. See African Americans
Blackton, J. Stuart, 439. See also American Vitagraph Company
—and Albert E. Smith: film production, 134 , 160 , 310 , 320 , 449 ;
purchase projecting kinetoscope, 93 ;
sued for copyright and patent infringement, 134
—performs lightning sketches for Edison camera, 69
—on reasons for becoming Edison licensee, 377
Blaisdell, George, 340
Blaney, Charles E., 399
Blechynden, Frederick W., 105 -12, 160
Board of Education, New York City, 151 -52, 431
Bob the Fireman (lantern show), 218 -20, 219
Boer War, 146
Bonine, Robert Kates, 144 , 234 , 291 , 316 , 322 , 325 , 333 , 367 -71, 379
Bostwick, Herbert E., 455
Bowser, Eileen, 403
Boxing. See Fight Films
Boyton, Paul, 67
Boyts, Porter & Company, 17 , 24
Bradenbergh's Ninth and Arch Street Museum, 163
Bradlet, Jonathan M., 451
Brady, William A., 22 , 48 , 374
Brakhage, Stan, 476
British Film Institute, 233
Bronx studio, 329 , 340 , 383 , 384 , 384 -91, 449 , 453 -55, 471
Brooklyn Institute of Arts and Sciences, 35 -38, 39
Bruce, Kate, 392
Bryan, William Jennings, 69
Buffalo Bill's Wild West Show, 50 , 174 , 256 , 336 , 338
Buffington, Judge Joseph, 238 , 240
Buñuel, Luis, 476
Burch, Nöel, 6 , 10 , 226 , 254 , 433 , 494 n.27
Bush, W. Stephen, 395 -96, 401 , 415 , 427
Buster Brown (cartoon strip), 267 -72
C
Caine, Hall, 470
Cameramen: associated with Edison, 176 , 197 , 251 -52, 449 , 454 -55, 511 n.126;
availability of, 447 ;
cameraman system of production, 161 , 325 ;
multi-unit coverage of single event, 140 -41, 187 . See also Collaborative system of film production
Camera movement. See Panoramas
Camera technology. See also Cinematography; Patents
—Biograph's friction-feed, 70mm camera, 91
—Demeny beater (Gaumont) camera, 375 , 438 -39
—double camera (exposes two negatives), 240
—Edison's large-format camera, 144
—invention of kinetograph, 29 -32, 506 n.3
—portable camera, 5 , 65 , 100 -101
—stereoscopic (3-D), 474 -75
—time-lapse photography, 186
—tripod: panning capabilities, 107 , 108 , 109 -10, 153 -54;
panning with time-lapse photography, 186 ;
tilting capabilities, 153 , 154 , 175 -76
Cameron, Walter, 253
Canadian Pacific Railroad, 192
Cannock, Francis B., 118 -19, 474 , 510 n.92
Carroll, Lewis, 350
Casino Company, 395
Censorship, 10 , 43 , 427 -32, 450 . See also National Board of Censorship
Centaur Film Company, 434 , 465
Centograph projector, 91
Chanan, Michael, 3
Chanson d'Alexis , 227
Chanson de geste , 227 -29
Chanson de Roland , 227 -29
Chaplin, Charles, 7
Charles Urban Trading Company, 238 , 273 , 355
Charley's Aunt (play), 409
Charmion (vaudeville performer), 179
Chase films, 259 -60, 280 -82, 286 -87, 354 -55, 391 , 415
Chasers (in vaudeville), 195
Chautauquas, 208
Chicago Film Exchange, 328 , 440 , 443 -44. See also Lewis, Max
Chicago Marine Band, 64
Chicago Novelty Company, 218
Chicago Tribune , 427
Choreutoscope, 35
Church, Melville, 281
Church-based institutions. See Religious institutions
Cinderella (pantomime), 200
effect, versus lantern slides, 122 -24;
as mass communication, 372 , 406 -7;
as novelty, 64 , 72 , 73 , 74 , 78 , 80 -81, 100 , 119 ;
a special kind of theater, 401 -2;
as a visual newspaper, 10 , 142 , 162 -67, 192 , 193 , 195 , 252 -53
Cinématographe projector (Joly), 118
Cinématographe projector (Lumière), 58 , 59 , 60 , 68 -69, 87 -88, 91 , 98 , 117 -18,
507 n.25. See also Lumière, Auguste and Louis
Cinematographers. See Cameramen
Cinematograph projector (Eden Musee), 118 -19, 121 , 442 . See also Eden Musee
Cinematography. See also Camera technology; Editing; Special effects
—dream balloons and visions, 174 , 200 -201, 203 , 205 , 223 -24, 412 , 412
—frames per second, 45 -46, 143
close views, 169 , 173 , 245 -50, 264 -65, 304 , 318 -19, 341 , 513 n.165, 524 n.48;
and double exposures, 341 , 342 ;
establishing/far shots, 297 , 362 , 363 , 407 , 408 , 425 , 447 , 462 , 465 -66, 469 , 513 n.165;
point-of-view shots, 345 -46;
—isolating performers and objects against plain background, 31 , 31 , 32 , 33 , 114 , 246 -47, 250 , 524 n.48
—lighting, 392 ;
complaints about, 422 , 426 , 451 ;
Cooper-Hewitt lights, 388 ;
—reverse motion, 176
—split-screen exposures, 192 -93
—time-lapse photography, 186
—use of depth, 79 , 94 , 95 , 95 -96, 97 , 105
Circuses, 22 , 23 , 51 , 100 -101
City versus country, 274 -75, 302 -3, 305 -11, 390 -91, 421 -22
Clair, René, 476
The Clansman (play), 303
Clark, Alfred, 56
Clark, Marguerite, 470
Class:
—class conflict, 18 -21, 280 -82, 296 , 301 -2, 305 , 307 , 317 , 327 -28, 355
—differences effaced or transcended, 200 , 221 -23, 311 -17, 345 -46
—elites: as audiences, 31 , 327 ;
as represented in films, 280 -82, 296 -302
—middle class, 10 -11, 23 , 24 , 292 -304, 305 -11, 312 -17, 327 -28, 473 ;
old versus new, 11 , 309 -10, 406 ;
as represented in films, 223
—working class: as audiences, 326 -27, 355 (see also Nickelodeons);
as represented in films, 222 -23, 280 -82, 295 -96, 473
Cleveland, Grover, 69
Close-ups, 318 -19
Cloward, N. Dushane, 244 , 251 , 524 n.53
Cody, William ("Buffalo Bill"), 50 , 338
strikes, 19 -20
Collaborative system of film production, 25 , 105 , 160 -61, 268 , 271 -72, 449 -50, 461 -63, 465 , 475 , 546 n.67. See also Film production; Working methods
—characteristic of old middle-class ideology, 340
—compared to later studio system, 336 -37
—and nonspecialization, 393 -94, 463
—specific examples of: Dickson and Heise, 32 -34, 105 ;
Porter and Anderson, 253 , 525 n.59;
Porter and Dawley, 383 -85, 390 -93, 402 , 417 , 450 , 461 , 466 -69;
Porter and Fleming, 160 -62, 192 ;
Porter and McCutcheon, 291 , 302 , 325 , 336 -40, 349 , 360 , 364 -65, 390 ;
Porter and Smith, 240 -41;
Porter's later career, 461 -63, 465 ;
White and Blechynden, 105 -12;
Colonial Virginia Company, 333
Color images: hand tinted, 41 , 62 , 254 , 397 , 401 ;
Kinemacolor, 401 ;
tinted and toned, 331 , 397 , 401
Columbia Phonograph Company, 45 , 71 , 89 , 444
Comedies, 113 -14, 138 , 143 , 148 , 163 -74, 179 , 189 -90, 198 -99, 208 , 209 -11, 245 -50, 256 , 259 , 262 -64, 267 -72, 274 -75, 280 -82, 284 -86, 287 , 303 -4, 307 , 310 , 311 -14, 317 -22, 332 , 342 -53, 409 -10, 412 -13, 415 , 423 . See also Bad-boy films; Tramp comedies
Comic strips, 167 ;
as conventions in films, 162 ;
provide characters for films, 165 , 167 , 245 , 267 -72, 311 , 353 -54, 354 ;
as subjects for films, 267 -72, 270 , 281 . See also Political cartoons
Commercial methods: relationship to production and representation, 11 -12
Commissioned films, 190 -92, 333, 368 , 378
Comstock, Laura, 173
Coney Island: as exhibition venue, 67 ;
as film subject, 67 -68, 93 , 94 , 148 -49, 192 , 220 , 245 , 249 -51, 275 , 276 , 321 ,
Coney Island (continued )
323 , 324 , 391 , 419 . See also Amusement parks
Connellsville, Pennsylvania, 15 -28, 311
—coke industry in, 15 , 18 -20, 496 n.23
—cultural activities in, 15 , 21 -24
—as influence on Porter's films, 11 , 15 , 17 -18, 19 , 21 , 22 , 27 , 320
—local merchants exhibit vitascope, 73 -86
—small business versus large scale capital, 18 -21, 292 , 307
—and technological innovation, 24 -26
—vitascope rights owners, 73 -86, 503 n.54;
in Indiana, 88 -91;
in Los Angeles, 81 -86;
in San Francisco, 77 -81
Connellsville Courier , 25 , 27 , 74 -75. See also Keystone Courier
Conot, Robert, 71
Continental Commerce Company, 46 -47;
involvement in film production, 49 , 52 . See also Maguire & Baucus
Continuity, 171 -72
—nonlinear continuity between shots, 99 -100, 209 -11, 225 , 515 n.23;
versus discontinuity of Eisenstein, 227
—seamless linear continuity, 227 , 403 -7;
incorrectly attributed to Porter, 189 , 205 -7, 230 -33
—within shots (between subshots), 69 , 173
Cook, David, 491 -92n.4
Copyright. See also Court cases
—legislation, 542 n.170
—litigation against Edison, 268 , 281 -82, 420 -21
—litigation by and against others, 465
—litigation by Edison, 134 , 197 , 207 -8, 213 , 237 -39, 240 , 281 , 528 n.136
—methods and submissions: Biograph, 281 -82;
Edison, 39 , 93 -94, 103 -4, 114 , 131 , 156 , 207 , 237 , 254 , 528 n.136;
Lubin, 244 -55
—and restrictions on borrowings, 421
Corbett, James, 48 -49, 79 -80, 139 , 500 n.44
Cotton States' Exposition, 56 , 57
Count of Monte Cristo (play), 22 , 465
Court cases: anti-trust, 471 ;
breach of contract, 322 -33;
copyright violations, 134 , 197 , 207 -8, 213 , 237 -39, 240 , 268 , 281 -82, 420 -21, 465 , 528 n.136;
patent infringement cases, 12 , 114 , 115 -16, 125 , 134 , 143 , 144 , 154 -56, 176 -79, 195 , 196 , 236 -37, 241 , 278 , 289 -90, 333 -34, 335 , 375 -76, 379 -80, 442 , 459 , 471 ;
replevin suits, 441 ;
warrants, 53 . See also Copyright; Patents
Courtney, Peter, 48 -49
Couvares, Francis G., 24 , 221 -22
Coxe, Judge Alfred C., 333
Crahan, Thomas, 144 -45
Craver, William, 338
Crawford, Oliver T., 375 , 377 , 399
Crime films, 253 -59, 286 -87, 292 -303, 310 , 311 -17, 428 , 430 -31
Crocker, Mayor Richard, 143 , 191
Cronjager, Henry, 391 , 417 , 449 , 455
Cross cutting. See Editing; Parallel editing
Cultural antecedents, 10
Cultural elites, 66
Culver, E. C., 370
Currier and Ives, 220
Cushing, Jack, 47
Customs and Times of Washington (illustrated lecture), 23
Czologz, Leon, 184 , 187 -90, 517 n.78, 518 n.85
D
Dali, Salvador, 476
Dallas, Judge George Mifflin, 237 -38
Dana, Viola, 473
Daniel Boone: On the Trail (play), 22 , 340 , 366
Daniels, Harry J., 102 , 119 -20
D'Arcy, H. Anthony, 421
Davis, Harry, 75 , 326 -27, 378 , 396
Davis, Owen, 303
Dawley, Bert, 455
Dawley, James Searle, 161
—at Edison: as director with own unit, 390 , 417 -18, 421 -22, 426 , 446 -47, 449 -51, 455 , 455 -56, 463 -64, 471 ;
as Porter's collaborator, 383 -85, 390 -93, 402 , 417 , 450 , 461
—at Famous Players: as director with own unit, 468 ;
as Porter's collaborator, 466 -69
—and Spooner Stock Company, 383 -84
—at Sunlight Arc Company, 475
Dede, Pauline, 213
Defender Film Company, 459 -60, 548 nn.8, 13
Defleur, Melvin, 406 , 494 n.36, 541 -42n.141
de Lorde, André, 424
DeMilie, Cecil B., 294
DeMilie, Henry Churchill, 90
De Mille, William, 425
Dennis, Everette, 406 , 494 n.36, 541 -42n.141
Dennis, Ruth (Ruth St. Denis), 41
Depew, Chauncey, 143
Detroit Film Exchange, 375
DeVarney, Miss, 407
Dewey, Admiral George, 132 -33, 140 -41, 143
Dibble, John P., 185
Dickson, William Kennedy Laurie:
—and Edison: and film production, 32 -35, 39 -44, 47 -51, 160 ;
and invention of kinetograph and kinetoscope, 29 -32, 33 , 473 ;
leaves Edison's employ, 51 ;
suffers nervous breakdown, 38
—royalties received from Edison, 47
Dissolves: before cinema, 172 , 186 ;
by producer, 172 -73, 181 , 186 -89, 198 , 201 , 202
Dixon, Thomas, Jr., 303
Dockstader, Lew, 275 , 319 , 321 -22, 378
Documentary, 234 . See also Actualities; Illustrated lectures
Dream balloons and visions, 174 , 200 -201, 203 , 205 , 223 -24, 412 , 412
Du Maurier, George, 52
Dumont's Minstrels, 164
Duping (duplication of films), 279 , 495 n.44. See also Remakes
—by Biograph, 253
—by Edison Co., 190 , 192 , 194 , 198 , 235 , 238 , 239 -40, 253 , 256 , 274 , 277 -78, 279 , 516 n.45
—Edison films duped: by Columbia Phonograph Company, 92 ;
by International Film Co., 92 ;
by 20th Century Optiscope, 275 ;
by Vitagraph, 134
—by Lubin, 197 , 207 -8, 239 , 244 , 253
Dyer, Frank, 2 , 10 , 13 , 435 ;
becomes Edison employee, 238 ;
as legal adviser on motion pictures (1904-1908), 277 , 278 , 289 , 379 , 380 , 382 ;
as vice-president of Edison Co., 416 , 434 , 437 -38, 439 , 445 , 447 -49, 451 , 453 -54, 457
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;
sound effects, 136 , 359 , 365 , 401 -2;
voices behind the screen, 138 , 359 , 396 -402
F
Facial expression films, 169 , 173 , 194 , 250 . See also Emblematic shots
Fads, 349
Fairy tale films, 139 , 200 -208, 340 , 349 -51
Famous Players Film Company, 230 , 275 , 464 -75
Fédération Internationale des Archives du Film (FIAF): 1978 conference, 3 , 492 n.8
Fenin, George, 254
Festival of Mountain and Plain (Denver, Col.), 108 -9, 209
Fight Films, 10 , 32 , 43 , 45 -46, 47 -50, 53 , 79 -80, 139 -40, 191 -92, 310 ;
Film audiences. See Audiences
Film continuity. See Continuity
Film copyright. See Copyright
Film developing and printing, 144 -45, 154 , 179 , 251 , 316 , 330 , 336 , 387 -88, 389 -90, 417 ;
double printing, 223 -24, 425 ;
increased efficiency of, 332 , 333 ;
masks, 273 , 345 , 346 , 414 , 419 ;
mattes, 193 , 263 -64, 412 , 414 ;
optical reduction printing, 192 -93. See also Special effects
Film editing. See Editing
Filmed theater, 22 , 50 -52, 65 , 101 , 121 -23, 138 , 242 -45, 287 -89, 393 -94, 395 , 396 -97, 400 , 464 -69. See also Plays; Popular culture
Film exchanges: and Edison-Biograph licensed associations, 376 -82, 434 -36, 437 -38;
formal release day for films introduced, 378 ;
and Motion Picture Patents Co., 440 -45, 471 ;
origins of, 280 -81, 328 -29, 332 , 374 -75. See also individual exchanges
Film exhibition. See Exhibition venues; Exhibitors; Traveling exhibition
Film Index . See Views and Film Index
Film prices. See Prices
Film production:
—actualities versus acted/fiction films, 63 ,
67 , 160 , 276 , 282 -84, 292 , 370 , 378 -79, 528 nn.139-40
—centralization of creative responsibility, 151 , 152 -53, 157 , 198 -200, 201 -2, 229 -30, 233 -34, 449 , 461 -63
—continuities with process of invention, 32 -35
—described by period documents, 125 -26, 147 -48, 213 -14, 271 -72, 337 -39, 386 -90
—homosocial nature of, 106 -7
—miniatures used in, 331 , 331 , 342
—move toward specialization and hierarchy, 390 -93, 449 , 454 -57, 471 -73
—multi-unit filming of single events, 140 -41, 187 , 194
—nonspecialization, 336 -37, 390 , 393 -94, 463
—production units: multiple studio production units, 416 -18, 448 -49, 453 , 454 -55, 468 , 546 n.67;
multiple units within one company, 105 ;
single units, 105
—subsidized by transportation companies, 95 -96, 98 -100, 108 , 109 -12
—synchronous sound films, 151 -52
—time needed for making films, 200 , 336 -37, 391 , 451
Film Service Association (FSA), 377 -81, 434 , 437 -38, 440 -41, 443 -44. See also United Film Service Protective Association
clear versus semi-opaque stock, 76 , 87 , 503 n.62;
cost of, 440 ;
Lumière versus Edison perforations, 98 ;
move toward technological standardization, 197 , 239 ;
nitrate deterioration, 95, 460 ;
non flammable film stock tested, 457 ;
perforations, 179 . See also Blair Camera Company; Eastman Kodak Company
Film subjects: animation, 317 -20, 323 , 331 , 350 , 409 , 410 , 531 n.29;
bad-boy comedies, 143 , 267 -72, 312 , 342 -47, 363 , 415 , 422 ;
chase films, 259 -60, 280 -82, 286 -87, 354 -55, 391 , 415 ;
comedies, 113 -14, 138 , 143 , 148 , 163 -74, 179 , 189 -90, 198 -99, 208 , 209 -11, 245 -50, 256 , 259 , 262 -64, 267 -72, 274 -75, 280 -82, 284 -86, 287 , 303 -4, 307 , 310 , 311 -14, 317 -22, 332 , 342 -53, 409 -10, 412 -13, 415 , 423 ;
commissioned films, 190 -91;
crime films, 253 -59, 286 -87, 292 -303, 310 , 311 -17, 428 , 430 -31;
facial expression films, 169 , 173 , 194 , 250 ;
fairy tale films, 139 , 200 -208, 340 , 349 -51;
family-centered dramas, 223 -24, 292 -304, 305 -7, 308 , 314 -16, 332 , 356 -59, 410 -12, 422 , 423 ;
fight films, 10 , 32 , 43 , 45 -46, 47 -50, 53 , 79 -80, 139 -40, 191 -92, 310 ;
filmed theater, 22 , 50 -52, 101 , 121 -23, 138 , 242 -45, 287 -89, 393 -94, 395 , 396 -97, 400 , 424 -26, 464 -69;
fire rescue films, 51 , 52 , 95 , 148 , 212 -34, 351 -52;
historical subjects, 55 , 138 , 336 -40, 364 -66, 395 , 424 -25, 430 -31, 464 -65, 534 n.47;
kidnapping films, 314 -16;
kiss films, 81 , 65 , 65 , 80 , 81 , 82 , 83 , 84 , 89 , 90 , 245 -49, 247 , 262 -64, 267 , 287 , 304 , 304 , 486 ;
melodramas, 292 -303, 305 -7, 332 , 407 -9, 421 -22, 424 , 461 -62, 465 -70, 534 n.47;
railway films, 66 -67, 95 -96, 97, 98 , 99 -100, 105 , 106 , 180 , 191 , 241 , 260 -65, 286 -87, 316 -17;
reenactments, 146 , 188 -90, 193 -94, 257 -59, 307 -8, 427 , 518 n.85;
tramp come-dies, 165 , 173 -74, 180 , 263 , 287 , 311 -12;
trick films, 139 , 176 , 341 -42, 404 -5, 423 , 429 -30, 447 , 460 ;
war films (acted), 146 -48, 150 -51, 181 -84, 273 -74, 415 -16;
westerns, 254 , 360 -63, 407 , 460 -61;
workplace films, 32 -35, 35 , 39 , 42 , 51 , 67 , 102 , 245 -48, 355 . See also Actualities; Popular culture
Financial data: for Eden Musee, 120 ;
for kinetoscope parlors, 45 ;
for Kleine, 482 -85;
for Motion Picture Patents Co., 439 -41, 443 ;
royalties received by Edison, 144 -45, 161 , 382 , 442 ;
salaries of Edison personnel, 161 , 178 , 192 , 236 , 240 , 265 , 291 -92, 383 -84, 391 , 417 , 449 , 453 -55;
sales, expenses, and profits for Edison Co., 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. See also Prices
Fire films, 51 , 52 , 95 , 148 , 212 -34, 351 -52
A Fireman's Christmas Eve (vaudeville play), 220 -21
Fires: motion picture-related, 157 , 191 , 238 , 445
Fiske, Minnie Maddern, 466 -67, 467 , 472
Fitzsimmons, Robert, 139
Flattery, James H., 395
Fleming, George S., 10 ;
collaborative production with Porter, 160 -61, 192 , 339 ;
leaves Edison, 240 ;
salary, 161
Foley, J. G., 92 -93
Ford, Hugh, 161 , 470 , 549 n.45, 549 n.50
Ford, John, 1
Foreign films and lantern slides: acquired overseas for exhibition purposes, 144 , 197 , 239 ;
duped by the Edison Co., 190 , 192 , 194 , 198 , 235 , 238 , 239 -40, 253 , 256 , 274 , 277 -78, 279 , 516 n.45;
influence and impact on American industry, 259 . See also Méliès, Georges; Pathé Frères; other individual producers
Forepaugh's Wild West Show, 23
Fourier, Henri, 192
1492 (musical comedy), 50 , 62
Fox, William, 328 -29, 374 , 380
Frazer, Jinnie, 392
Frazer, John, 392
French, Bernard J. (Jim), 449
Frick, Henry, 19
Frohman, Charles: on vitascope, 77 , 89
Frohman, Daniel, 464 -65
Fuller, Amy, 84
Fuller, Mary, 464
Furniss, Harry, 464
G
Gammon, Frank R., 45 , 57 , 64 ;
incorporates Vitascope Co., 70 . See also Raff & Gammon
Garfield, James, 186
Gaudreault, André, 254
Gaumont, Léon, 437
Gaumont (Société des Etablissements Gaumont), 4 , 335 , 355 , 375 , 381 , 434 , 436 , 438 . See also British Gaumont
Gender. See Men; Women
General Film Company, 471 , 472 , 549 n.60
Genre, 101 , 151 , 254 . See also Film subjects
Gentleman Jack (play), 48
George Eastman House, 121 , 377
Georgie, Florence, 179
Gershel, Charles, 209
—assumes management of Edison Manufacturing Co., 45
—management (1895-1897), 57 -58, 65 , 71
—management (1897-1900), 125 -26, 134 , 155 -56
—management (1900-1902), 158 , 161 , 197 , 198 , 207 , 213
—management (1903-1908), 235 -36, 238 -39, 277 , 278 , 289 -90, 383 -85, 416 ;
and Association of Edison Licensees, 376 ;
and Edison break with Kleine, 278 -79;
and negotiations with Pathé, 335 -36
Gilroy, William J., 289 , 291 , 387 , 391 , 458
The Girl of the Golden West (play), 363
Glenroy Brothers, 499 n.26
Godard, Jean-Luc, 477
Golden, Joseph A., 465
Gonzales, Dionecio, 50
Goodell, Rev. E. L., 431
Goodfellow, William H., 375 , 377
Goodfellow Manufacturing Company, 375 , 379 , 434
Gordon, John, 466
Gove, Otis M., 454 -55
Graf, Thomas, 447
Grand Opera House (Harrisburg, Pa.), 96 -97
Greater New York Film Company, 329
Great Northern Film Company, 379 , 435 , 444
The Great Train Robbery (play), 256 -57, 525 n.72
Gregory, C. L., 455
Griffith, D. W. ("Lawrence"), 1 , 7 , 8 , 226 , 229 , 230 , 259 , 294 , 314 , 351 , 402 , 437 , 450 ;
as actor at Edison, 392 , 410 -11;
work compared with Porter and Edison films, 225 -26, 303 , 307 , 317 , 339 , 359 , 403 , 405 -6, 418 , 419 , 424 , 426 , 446 , 462 , 477
Grundy, James, 50
Gunning, Tom, 8 , 84 , 179 , 318 , 406 , 515 n.23
H
Hackett, James, 465 -66
Haddock, William F., 454 -56
Hagan, Claude, 221
Haggar, Walter, 253
Hale, George C., 222
Hale's Tours and Scenes of the World, 222 , 264 -65, 526 n.89
Hammerstein's Olympia Theater (New York City), 86 , 95
Hanaway, Frank, 525 n.59
Hands, Charles E., 132
Hansen, Miriam, 523 n.32
Harris, Adrienne, 346
Harris, Neil, 254
Harrisburg Telegraph , 93
Harrison, Frank, 55 -56
Hartung, Lieutenant, 50
Hayes, Howard W., 179 , 198 , 238 -39, 244
Hazel Kirke (play), 305 -6, 364 , 365
"Heap Fun Laundry" (vaudeville skit), 50
Hearst, William Randolph, 77 , 127 , 167
film production (1893-1895), 39 -42, 47 -53, 55 , 160 ;
film production (1896-1898), 64 -70, 93 -102, 112 -14, 146 ;
invention of motion picture system, 31 -34;
royalties received from Edison, 47
Hendricks, Gordon, 2 , 39 , 115 , 492 -93n.13, 498 n.1, 499 n.39
Henry, Prince of Prussia, 194
Hepworth, Cecil, 123 , 227 , 230 , 231 , 253 , 314 , 316 , 355
Heterosocial work patterns, 461 , 469 -70, 494 n.34
Hilliard, Robert, 293 -94
Hinkle Iron Company, 159
His Majesty and the Maid (play), 253
Historical subjects, 55 , 138 , 336 -40, 364 -66, 395 , 424 -25, 430 -31, 464 -65, 534 n.47
Hodkinson, William, 472 -73
Holden, Delos, 281
Hollaman, Richard G., 117 -19;
and passion play films, 121 , 138 ;
promotes Simplex projector, 474
Holland, Edwin, 293 -94
Holmes, E. Burton, 234 , 261 , 274 , 327 , 379 , 526 -27n.103, 536 n.94
Homosocial work patterns, 18 , 32 -35, 39 -40, 47 -49, 107 , 212 -23
Homosocial world on film, 32 -35, 39 -42, 47 -49, 94 -95, 113 -14, 253 -59
Honig, Arthur, 393 -94
Hood, Thomas, 421
Hopwood, Henry, 9
Hornbacker and Murphy, 49
Hornung, E. W., 312
Howe, Lyman H., 14 , 95 , 153 , 185 , 285 , 379 , 396 , 398 , 401
Hoyt, Charles, 51
Huber, George, 155
Huber's 14th Street Museum, 118 , 155 , 218 , 254 , 289
Humanovo Producing Company, 399 -400
Hunter, Robert, 295
I
Ideology, 10 -11, 292 -304, 309 -11, 355 , 406 ;
and representations of class conflict, 295 -97, 301 -2, 307 , 366 . See also Propaganda; Resistance to rationalization and efficiency
Illustrated lectures, 23 , 35 -38, 122 , 288 ;
combining slides and films, 122 -24, 145 , 173 , 234 , 288 , 369 -70. See also Lantern shows; Lantern slides; Travelogues
Illustrated songs, 79 , 119 , 150 -51, 218
Ince, Thomas, 469
Independent Motion Picture Company (IMP), 445 , 469
Independents, 379 -82, 433 -34, 442 -45, 537 n.30
Indianapolis Journal , 89 , 90
Indianapolis Sentinel , 89 , 90
Industrial films, 322 , 370 , 378 , 457 , 531 n.55
Intermittent mechanism for projection: introduced, 57 , 522 n.8
International Film Company, 92 , 114 , 115 , 119
International Projecting and Producing Company, 444
Intertitles, 243 -44, 273 , 275 , 294 , 317 -20, 340 , 356 -60, 365 , 402 -3, 404 , 407 , 412 -13, 420 -21, 450 , 452 , 462 , 523 n.31
Italian "Cinès," 335 , 379 -81, 435 , 437
J
Jacobs, Ken, 477
Jacobs, Lewis, 2 , 201 , 212 , 231 , 232 , 254 , 511 -12n.130, 526 n.88
Jamestown Exposition (1908), 333 , 424 , 533 n.29
Jamison, William L., 238 , 333 , 454 , 521 n.28
Jeffries, James, 141
Jenkins, Charles Francis, 124 , 444 ;
and phantoscope, 57 , 58 , 59 , 89
Jews, 351 -52, 460 . See also Anti-Semitism
Jump cuts, 108 , 184 , 477 . See also Editing
K
Kalatechnoscope projector. See Paley, William C.
Kalem Company, 329 , 335 , 375 -77, 380 , 400 , 417 , 421 , 451 , 456 -57, 463 , 537 n.30
Karr, Lawrence, 335
Kathleen Mavourneen; or, St. Patrick's Eve (play), 365
Kayser, Charles, 34 , 53 , 145
Keaton, Buster, 475 -76
Keith, Benjamin Franklin: and cinématographe, 88 , 502 n.48;
switches from biograph service to Kinetograph Co., 281
Keith's Union Square Theater (New York):
—exhibition services used: biograph, 98 , 118 , 126 , 239 , 253 ;
Lumière cinématographe, 68 -69, 87 , 88 , 91 , 118 , 502 n.48;
vitagraph, 239
—live acts at, 173 , 191 , 293
—as motion picture theater, 374 , 423
Keith theaters, 88 , 239 , 253 , 281 , 502 n.48;
and kinetograph rental service, 281 , 368 ;
as motion picture houses, 374 , 397
Kennedy, Harold, 392
Kennedy, Jeremiah J., 434 , 438 , 439
Keyes, George H., 322 -23
Keystone Courier , 19 -20, 21 , 24 , 292 . See also Connellsville Courier
Kichi, Toyou, 50
Kidnapping films, 314 -16
Kiefaber, Peter W., 65 , 77 , 88
Kineopticon projector, 87 , 91
Kinetograph. See Camera technology
Kinetograph Company: Edison films produced for, 280 -82, 284 , 368 ;
established, 155 -56;
as exhibition service, 191 -92, 197 , 218 , 254 , 280 , 289 , 527 n.128;
and film rental business, 280 , 368 , 383 ;
Kinetograph Department. See Edison Manufacturing Company
Kinetophone (1895; peep-hole), 53 -56
Kinetoscope Company, 44 -45, 49 ;
involvement in film production, 56 ;
markets kinetophone, 53 -56;
sponsors Edison's efforts to invent projector, 53
Kinetoscope Exhibition Company, 45
Kinetoscope parlors, 42 , 44 -47, 48 , 49 , 53 , 75 , 78 , 85 , 86
Kinetoscopes, peep-hole: capacity enlarged to handle 150 ft. of film, 45 -46;
first public exhibition of, 35 -38;
invention of, 29 -31;
no longer profitable, 93 ;
parlors featuring, 42 , 44 -47, 48 , 49 , 75 ;
versus projected image, 60 -61, 82 ;
replaced by mutoscopes, 143 ;
and rival manufacturers, 53 . See also Mutoscopes; Projecting kinetoscope
Kircher, Athanasius, 494 n.33
Kiss films, 65 , 65 , 80 , 81 , 82 , 83 , 84 , 89 , 90 , 245 -49, 247 , 262 -64, 267 , 287 , 304 , 304 , 486
Klein, James, 476
Kleine, George, 4 ;
and Biograph Association of Licensees, 379 -80, 434 ;
as distributor of Edison feature films (1915-1918), 472 -73;
on duping, 279 ;
as Edison sales agent, 155 -56, 278 -79;
and Motion Picture Patents Co., 435 -38, 439 , 440 , 442 , 444 ;
as sales agent for European producers, 279 , 376 ;
on Uncle Tom's Cabin , 244
Kleine Optical Company: accounts, 482 -84;
sued by Edison, 379 . See also Kleine, George
Klondike Exposition Company, 144 -45
Koster & Bial's: management of, 39 , 40 , 50 ;
and premier of vitascope, 59 , 60 -64, 76 , 90
Koszarski, Richard, 541 n.135
Kremer, Theodore, 407
L
Lackawanna Railroad, 253 , 263
Lacombe, Judge E. Henry, 333
Laemmle, Carl, 27 ;
and film exchange, 328 -29, 374 , 380 , 434 , 443 -44;
and film production companies, 445 , 463 , 471
Lake Shore Film and Supply Company, 399
Langtry, Lillie, 466
Lantern shows, 66 , 186 , 200 -201, 207 , 218 -19, 220 , 304 , 517 n.75, 523 n.25. See also Illustrated lectures
Lantern slides, 226 ;
combined with films, 122 -24, 129 -31, 136 , 278 -79;
depicting dreams and visions, 200 -201;
and dissolves, 172 ;
editorial organization of, 183 ;
made for illustrated lectures, 144 ;
providing "visual newspaper," 141 . See also Illustrated lectures; Illustrated songs; Magic lantern; Travelogues
Lasky, Jesse, 473
Latham, Woodville, 45
Latham family: and eidoloscope, 57 , 60 ,
and Kinetoscope Exhibition Company, 45 -46, 47 -49
Latham loop, 379
Lauste, Eugene, 30
Lawrence, Florence, 336 , 337 , 337 -39, 534 n.47
Leacock, Richard, 476
Léger, Fernand, 476
Lehigh Valley Railroad, 95 -96, 97 , 98 -99
Leigh, Fred W., 348
Leonard, Marion, 463
Leonard, Michael, 47
Leslie's Weekly , 163
Levy, David, 254 , 259 , 492 n.12, 509 -10n.72, 529 n.148
Lewis, Max, 328 , 438 , 443 . See also Chicago Film Exchange
Leyda, Jay, 521 n.28, 542 n.184
Library of Congress, 4 , 232 -33, 244 , 286 -87, 320 , 321
Lighting, 392 ;
complaints about, 422 , 426 , 451 ;
Cooper-Hewitt lights, 388 ;
Lights and Shadows of a Great City (lantern show), 523 n.25
Lincoln, Abraham, 186 , 415 -16
Lipton, Sir Thomas, 143
Little Christopher Columbus (musical burlesque), 51
Local views, 65 -66, 96 -98, 251 , 284 , 378 -79, 537 n.30. See also Actualities
Lombard, Thomas, 45
London Daily Mail , 132
Long, William J. (nature writer), 351
Los Angeles Herald , 82
Los Angeles Times , 82 , 83 , 84 , 368
The Lost Paradise (melodrama), 89 -90
Louisana Purchase Exposition (1904), 278 -79
Low, Seth, 191
Lubin, Sigmund, 114 , 115 , 237 , 439
—dupes Edison films, 197
—dupes foreign films, 239 , 253
—exhibition service, 155 , 163
—member of Association of Edison Licensees, 376 , 382
—member of Motion Picture Patents Co., 437 , 442
—productions, 140 , 146 , 197 , 218 , 253 , 286 , 310 , 314 , 334 , 417 , 427 ;
films remade by Edison, 174 , 180 , 286 , 515 n.35;
remakes Edison subjects, 163 , 244 -45, 310
—sued by Edison for copyright infringement, 197 , 207 -8, 213 , 237 -38, 244
—sued by Edison for patent infringement, 115 , 333 ;
flees to Germany, 178 ;
returns from Germany, 197
—theaters owned by, 398
Lubin Manufacturing Company. See Lubin, Sigmund
Lucy Daley's Pickaninnies, 50
Lumière, Auguste and Louis, 60
—cinématographe, 58 , 59 , 68 -69, 87 -88, 91 , 98 , 117 -18, 507 n.25;
U.S. premiere of, 87 ;
versus vitascope, 87 , 88 , 98 , 502 n.48
—film productions of, 98 , 162 , 260 , 317 , 506 n.168
—films acquired by Raff & Gammon, 67
—Maguire & Baucus as agent for, 115
—and quality of film stock, 265 , 266
—as source for Edison films, 65 , 66 , 67 , 68 -69, 94 , 102
M
McAllister, Jessie, 392
Macart's Dog and Monkey Circus, 80
McClellan, Mayor George Brinton, 428
McCoy, Joseph, 266 -67, 278 , 381 , 384 , 416 -17
McCutcheon, Wallace:
leaves, 335 ;
returns, 384
leaves, 384 ;
as Porter's collaborator, 161 , 291 -92, 302 , 312 , 314 -15, 325 , 329 , 334 , 336 -37, 338 -40, 349 , 360 , 364 -67, 390
McDermott, Marc, 463
McGlynn, Frank, 456
McGovern, Terry, 139 -40
McGraw, John, 322
MacKaye, Steele, 305 -7
McKinley, Pres. William, 187
—films and slides of, 69 , 101 , 176 , 186 ;
inauguration (1897), 98 -99;
inauguration (1901), 161 ;
at Pan-American Exposition, 184 -86, 517 n.66, 518 n.85
—and Spanish-American War, 127 , 130
McLoughlin, Edmund, 87
Magic lantern, 23 , 83 , 167 . See also Lantern shows; Lantern slides
Magniscope projector, 92 . See also Amet, Edward H.
Magowan, Kenneth, 232 , 254 , 491 -92n.4
Maguire, Franck (Franz) Z., 46 , 115 , 127
Maguire &: Baucus, 46 -47, 49 , 115 , 507 n.21. See also Continental Commerce Company
Maher, James H., 374
Mail and Express . See New York Mail and Express
"Maine" (battleship), 126 -28
Mambert, S. B., 472
Mannie (the Edison dog), 173 -74, 268 , 271 , 311 , 312 , 318 -19, 344 , 344 , 375 , 377
Marble, Scott, 256
Marey, Étienne-Jules, 31
Marion, Francis J., 329 , 335 , 439 , 456 -57
Markgraf, William, 13 ;
heads Edison's Kinetograph Department, 236 , 252 ;
purchases defective Lumière film stock, 265 , 266 ;
purchases kinetoscopes, 45
Marks, F. Croydon, 335
Martin, Lee, 50
Martinetti, William, 240 , 391 , 525 n.72
Marvin, Harry Norton, 156 , 379 , 434 , 437 -38, 439 ;
on cinema, 163
Mass communication: cinema as, 372 , 401 , 402 , 406 -7
Mast, Gerald, 232 -33, 491 -92n.4, 492 -93n.13, 521 -22n.30
Matching action, 225 . See also Editing
Matthews, Harry C., 449 , 452 -53, 455 -56
Mayne, Judith, 179
Maysles, Albert and David, 476
Medea (travesty), 22
Méliès, Gaston, 239 -40
Méliès, Georges, 2 , 162 , 200 , 230 , 511 n.115;
copyrights films in U.S., 240 ;
film production, 240 , 253 , 417 , 516 n.65;
films distributed through New York office, 239 -40, 241 , 277 , 335 ;
films duped by American producers, 192 , 196 , 209 , 238 ;
films emulated by Porter, 172 , 200 -201, 209 ;
films exhibited on U.S. screens, 139 , 172 , 178 ;
member of Association of Edison Licensees, 377 ;
and Motion Picture Patents Co., 438 , 440 ;
representational techniques, 209 , 226 -27, 231 ;
sued by Edison for patent infringement, 333 ;
use of dissolves, 172 ;
waning role in industry, 277
Melodramas, 292 -303, 305 -7, 332 , 407 -9, 421 -22, 424 , 461 -62, 465 -70, 534 n.47
Men:
—as audiences, 40 , 47 , 107 , 179 -80, 246 -47, 346 -47
—as film subjects, 200 , 280 -82;
as audiences in films, 104 , 105 , 107 , 179 -80, 246 , 251 , 252 ;
homosocial world on film, 32 -35, 39 -42, 47 -49, 94 -95, 113 -14, 253 -59, 343 -47, 494 n.34
—homosocial work patterns among, 18 , 32 -35, 39 -40, 47 -49, 107 , 212 -23
Menzies, William Cameron, 539 -40n.80
Merry, Harley, 288 -89
Metz, Christian, 179
Mexican Central Railroad, 109
Michelson, Annette, 494 n.27
Michtom, Morris, 349
Middle class, 23 , 24 , 292 -304, 305 -11, 312 -17, 327 -28, 473
Miles Brothers, 374 , 377 , 520 n.146, 537 n.30
Milk White Flag (musical farce), 51
Millais, John Everett, 220
Miller, Arthur, 459
Miller, Ashley, 454 , 455 , 455 , 464
Miner's Bowery Theater, 91
Miner's Eighth Avenue Theater, 192
Minstrel shows, 275 , 319 , 321 -22, 378 , 396 , 396 -397
Miss Jerry (picture play), 78 , 82
Mitchell, Mason, 146
Molnár, Ferenc, 399
Monroe, Marilyn, 179
Montgomery, David, 6
Moore, Alex T., 13 ;
heads Kinetograph Department, 265 -67, 368 , 384 -85, 450 ;
leaves Edison Co., 453
Moore, Annabelle. See Whitford, Annabelle
Moore, Clement Clarke, 340
Morse, Salmi, 121
Mosher, Norman H., 268 , 271 , 515 n.33, 537 n.12
Motion Picture Patents Company (MPPCo), 1 , 13 , 178 , 455 -56, 459 , 463 , 471 , 473 , 545 n.31;
initial agreements, 438 -42;
process of formation, 432 , 433 -38. See also Association of Edison Licensees
Mottershaw, Frank, 3
Moulton, William, 449
Mount Pelee, 208
Moving Picture World (MPW ), 376 , 394 , 395 , 402 , 415 -16, 422 , 428 , 431 , 433 , 437 , 447 , 459 , 466 , 469
Mulhall, Lucille, 323
Münsterberg, Hugo, 194
Murdock, John J., 444
Murphy, Dudley, 476
Murphy, Richard, 391 , 410 , 412 , 466 , 539 -40n.80
Murray, Mae, 525 n.59
Museum of Modern Art, 4 , 14 , 232 -33, 321 , 491 -92n.4
Musical accompaniment for films: kinetophone, 53 -55;
vitascope, 62
Muybridge, Eadweard, 29 , 32 , 34 , 35 , 37 , 475
N
Narrative:
—broken down by exhibition process, 84
—complex narratives, 254 -56, 359 -67, 393 -406, 418 -19, 425 -27, 446 -47
—constructed primarily by the exhibitor, 94 -95, 99 -100, 103 , 112 , 119 -20, 122 -25, 135 -37, 148 , 201 -2, 284 , 287 , 509 n.68
—constructed primarily by the producer in story film, 198 -99, 201 -2, 229 -30, 276 -77
—construction shared or contested by producer and exhibitor, 99 , 124 -25, 186 , 262 -64, 284 , 287 , 509 n.68, 524 n.51, 541 n.135
—distended by or subservient to nonnarrative impulses, 359 , 360 -62, 367 , 404 , 415 -16, 419
—intratextual redundancy, 344 -45, 349 , 353 -56;
and the chase, 259 -60, 354 -55, 362 , 528 -29n.143
—and nonnarrative elements, 172
—reliance on simple stories, 356 -59
—repetitions from different perspectives, 194 , 211 , 224 -29
—shift toward linear structures, 403 -7, 415 , 424
—within single-shot films, 113 , 165 , 167
Nation, Carrie, 162 , 163 , 164 , 167
National Board of Censorship, 10 , 445
National Federation of Women's Clubs, 31
National Film Company, 399
National Phonograph Company, 13 , 197
Newark Evening News , 212 , 213 -14
Newark Turnverein (athletic club), 39
Newmyer Opera House (Connellsville, Pa.), 22 -24
News films, 67 , 68 -69, 98 , 101 , 104 -5, 112 , 117 , 119 -20, 126 -33, 135 -36, 138 , 140 -41, 142 , 143 , 154 , 161 , 175 , 176 , 184 -86, 187 , 190 , 208 -9, 251 , 252 , 253 , 275 , 276 , 284 , 286 , 289 , 291 , 322 -23, 367 -68. See also Actualities
influence on films, 10 , 162 -67, 192 , 258 . See also Cinema . . . as a visual newspaper; Comic strips; Political cartoons
Newsreel, 476
New York American , 353
New York Central Railroad, 95
New York Clipper (Clipper ), 77 , 141 , 197 , 214 -15, 223 , 256 , 286 , 289 ;
description of Life of an American Fireman , 214 -15;
on vitagraph exhibitions, 141
New York Daily News , 61
New York Dramatic Mirror (NYDM ), 293 , 381 , 386 , 394 , 399 -400, 402 -3, 405 , 413 , 415 -16, 420 , 422 -26, 428 , 446 -47, 452 , 460 , 470
New York Journal , 60 , 127 -31, 163 -67, 168 , 169 , 181 -83, 189 , 252 , 274 , 292 ;
on value of war with Spain, 127
New York Mail and Express , 117 , 118 , 120 , 127 , 141
New York Motion Picture Company, 445
New York Police Department, 308 -9
New York Sun , 316
New York Telegraph , 341 , 368
New York Times (NYT ), 60 -61, 163 , 167 , 187 , 189 , 223 , 334
New York Tribune , 163 , 258 -59
New York World , 65 , 122 , 184 , 187 , 288 , 292 -93, 301 , 301 , 345 , 351 ;
on attitudes toward war with Spain, 127
Niagara Falls, 66 -67, 83 , 84 , 96 , 153 , 187 , 267
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
Nordisk Film Company, 335 , 381
North American Phonograph Company, 71
Nostalgia, 15 , 27 , 34 , 94 , 99 , 320 -21, 340 , 345 -46, 363 , 364
Novelty, 53 -55, 78 -81, 82 , 137 , 221 , 340 -41, 349 , 352 -53, 415 , 461 ;
and familiarity, 319 . See also Cinema . . . as novelty
Novelty Song Film Company, 333 , 397
Number 973 (vaudeville play), 293 -94
O
Oakley, Annie, 50
Occidental and Oriental Steamship Company, 108 , 111 -12
Olcott, Sidney (John Sidney Allcott), 402 , 456 -57
Old maids, 167
"On a Good Old Five Cent Trolley Ride" (song), 320
On Shanon's Shore (play), 383
Operational aesthetic, 254
Orange Camera Club, 369
Orange Chronicle , 53 -54
Order of United Mechanics, 20 -21
Orpheum Theater (Los Angeles), 81 -84
Orpheum Theater (San Francisco), 77 -80
Ott, Frederick P., 30
Ott, John, 52
Our Departed Heroes (lantern-slide subject), 186
Outcault, Richard F., 267 -72, 526 nn.95-97
Overlapping actions. See Continuity;
Representational practices
P
Paine, Richard S., 18 , 74 -75, 88 ;
acquires vitascope in New York, 75 ;
exhibits vitascope in Los Angeles, 81 -85;
exhibits vitascope in San Francisco, 77 -81
Paintings and illustrations: as film subjects, 55 , 182 , 220
Paley, William C.: as cameraman for Eden Musee, 120 -21, 510 nn.89, 90 ;
as Edison licensee, 125 -26, 143 ;
and filming of Spanish-American War, 127 -28, 131 -33;
and film production (1899-1902), 141 , 143 , 194 -95, 310 ;
and kalatechnoscope exhibition service, 142 , 173 ;
sued by Edison, 333
Palmer-McGovern Fight, 139 -40
Pan-American Exposition, 175 -76, 184 -87
Panoramas (camera movement), 249 -50;
absence of camera movement noted, 105 ;
panning on tripod, 107 , 153 -54, 184 , 186 , 187 -89, 193 , 211 , 226 , 241 , 249 -50, 251 , 287 , 323 ;
in pre-cinema, 186 ;
on vehicles moving through space, 66 -67, 99 , 128 , 148 -49, 153 , 175 , 241 , 261 -65, 321 , 321 , 463
Pantomimes, 200 -201
Paper prints, 103 -4, 208 , 254 , 286
Papinta, 80
Paradise Lost (lantern show), 23
Parallel editing, 225 -26, 227 , 303 , 404 -5, 416 , 424 , 450 , 462 . See also Editing
Paris Exposition (1900), 145 , 152 -53, 175 , 220 , 513 n.164
Parker, Walter, 209
A Parlor Match (play), 113
Parsifal (opera, play), 287 -89
The Passing Show (revue), 50
Passion Play (Oberammergau), 121 -25, 138
Passion Play (Salmi Morse), 121
Passion play films, 121 -26, 132 , 136
Pastor's Theater (New York City), 50 , 91 , 118 , 141 , 150 , 362 , 374 , 381
Pateck, Alfred, 368 -69
Patents, 439 -42, 471 , 498 n.3. See also Association of Edison Licensees; Edison, Thomas Alva; Motion Picture Patents Company
—owned by Armat, 71 , 92 , 178 , 522 n.8;
litigation involving, 236 -37
—owned by Biograph, 178 , 379 ;
and Biograph Association of Licensees, 379 -82, 434 ;
litigation involving, 380 ;
and rivalry with Edison, 333 -34, 377 -79
—owned by Edison, 31 , 115 , 196 , 333 ;
licensees under, 116 , 125 -26, 134 , 143 , 154 -55, 161 , 376 -77, 445 ;
litigation involving, 12 , 114 , 115 -16, 125 , 134 , 144 , 154 , 156 , 178 , 278 , 289 , 333 -34, 335 , 375 -76, 379 -80
—and Motion Picture Patents Co., 438 , 441 ;
infringement litigation by, 442 , 459 , 471
—patent combination proposed by Armat, 178 -79, 237
Pathé Frères (Companie générale des phonographes, cinématographes, et appareils de précision):
—American distribution, 277 -78, 335 -36, 377 , 378 , 416 -17, 437
—film production, 12 , 335 , 344 , 404 -5, 518 n.85;
image tinting, 401 ;
subjects remade by Edison Co., 193 , 341 -42, 424
—films duped by Edison Co., 238 , 277 -78
—Kleine as western agent for, 279
—as licensee of Association of Edison Licensees, 376 , 382 , 434
—as licensee of Motion Picture Patents Co., 439
—Pathé News, 91
—sued by Edison, 333
Patriotism, 62 , 114 , 126 -27, 128 , 132 , 140 -41, 223 , 430 -31
Paul, Robert W., 53 , 63 , 253 , 518 -19n.108
Peck's Bad Boy and His Pa (lantern show with films), 344
Peiss, Kathy, 494 n.34
Pelzer, John, 384 -85, 453 -54
Pennebaker, D. A., 476
Phillips, Augustus, 392
Phonograph, 71 , 75 , 117 , 145 , 235 ;
as adjunct to films, 151 -52;
Phonograph parlors, 78 , 85 -86
Phonoscope , 122
Photography, 144
Picabia, Francis, 476
Pickford, Mary, 466 -67, 468 , 468 -70, 549 n.45
Picture songs, 150
Pinkerton, William A., 286 -87
Pioneer Days (play), 336
Plays: adapted from motion picture subject, 220 -21;
film adaptions of, 113 , 121 -24, 253 , 256 -57, 292 -96, 303 , 305 -7, 336 -40, 363 -67, 400 , 422 , 423 , 424 -26, 431 -32, 464 -69, 535 n.76;
filmed theater, 22 , 50 -52, 65 , 101 , 121 -23, 138 , 242 -45, 287 -89, 393 -94, 395 , 396 -97, 400 , 464 -69;
films providing backdrops for sets, 77 , 190 -91
Plebeian culture, 221 -23, 521 n.14
Plimpton, Horace G., 13 , 453 -56, 458 , 463 , 472
Plintom, A. D., 381
Point-of-view structures, 174 , 246 , 261 , 273 , 345 -46, 419 , 524 n.48
Political cartoons, 10 , 163 -66, 181 -83, 301 , 301
Popular culture:
—and copyright restrictions, 420 -21
—as source for film subjects: baseball, 345 -47;
boxing, 47 -49;
comic photographs and post cards, 318 , 318 -19, 351 -53, 353 , 412 , 413 ;
comic strips, 62 , 165 -67, 245 , 267 -72, 281 , 341 -42, 343 , 353 -54, 354 , 526 n.84;
Coney Island, 67 -68, 93 -94, 94 , 148 -49, 192 , 220 , 245 , 249 -51, 275 , 276 , 321 , 323 , 324 , 391 , 419 ;
dime novels, 426 ;
ditties and sayings, 171 , 263 , 346 -47, 353 , 422 ;
fairy tales, 349 -51;
lantern shows, 186 , 218 -19, 226 ;
magazine tie-ins, 464 ;
minstrel shows, 275 , 319 , 321 -22, 378 , 396 , 396 -97;
newspaper stories, 150 , 163 , 187 , 257 -59, 308 , 345 , 349 -51, 415 ;
novels, 52 ;
nursery rhymes, 340 , 420 -21;
paintings and illustrations, 55 , 182 , 220 ;
plays, operas, and musical comedy adaptations, 50 -51, 51 , 52 , 65 , 101 , 113 , 121 -24, 138 , 242 -44, 253 , 256 -57, 287 -89, 292 -96, 303 , 305 -7, 336 -40, 363 -67, 415 , 424 -26, 431 -32, 464 -69, 535 n.76;
poems, 420 -22;
political cartoons, 10 , 62 , 163 -66, 181 -83, 191 , 301 , 301 ;
short stories, 312 ;
songs, 319 -20, 333 , 347 -49, 397 -98, 411 -12;
sporting events, 67 , 104 -5, 113 , 241 ;
vaudeville performers, 39 -41, 41, 42 , 43 , 50 , 55 , 64 , 65 , 69 , 102 , 169 , 173 , 179 , 180 , 190 -91, 245 , 249 -50, 321 -22;
vaudeville sketches, 50 , 422 , 423;
waxworks, 410 -11;
wild west shows and rodeos, 50 , 51 , 174 , 256 , 275 -76, 289 , 323 , 360 -63
Porter, Byron, 22 , 496 -97n.38
Porter, Charles W. (brother), 16 , 17
Porter, Edwin Stanton (Edward):
—and American Cinematograph Company: see and Eden Musee, below
—and American Sportagraph Company, 139 -40
—as builder of motion picture equipment, 7 , 119 , 121 , 139 , 141 , 157 -58, 160 , 457 , 474 -75;
and Simplex projector, 474 -75
—collaborative approach to work, 7 , 25 (see also Collaborative system of film production);
with Anderson, 253 , 525 n.59;
with Dawley, 383 -85, 390 -93, 402 , 417 , 450 , 461 , 466 -69;
with McCutcheon, 291 , 302 , 325 , 336 -40, 349 , 360 , 364 -65, 390 ;
with Smith, 240 -41;
and subsequent career, 461 -63, 465
—in Connellsville as youth and young adult: bankruptcy of tailoring business, 27 , 80 ;
early cultural experiences, 15 , 21 -24;
ill-health, 18 ;
invents electric regulator device, 25 ;
jobs, 22 -27;
learns photography, 22 , 497 n.41
—in Connellsville on visits, 81 , 241 , 320 -21
—on continuity between shots, 211
—and Defender Film Company, 459 -60
—and Eden Musee, 103 ;
exhibitions, 121 -23, 124 -25, 132 -33, 134 -37,
Porter, Edwin Stanton (continued ) 172 ;
joins as projectionist, 121 ;
works on new cinematograph projector, 119 , 121 , 157
—at Edison Manufacturing Company, 156 ;
demoted to advisory role, 453 -54;
film production (1901-1902), 160 -95, 197 -211, 212 -30;
film production (1903-1905), 241 -76, 280 -90, 292 -324;
film production (1905-1909), 336 -67, 383 -432, 446 -58;
fired, 458 ;
hired, 157 ;
as projectionist at charity events, 284 ;
serves only as studio head, 449 -53
—as electrician, 25 -26, 81 , 83 , 160 , 191
—emulates Edison, 24 , 102 , 157 , 160
—at Famous Players Film Company, 464 -71, 474 , 475
—versus Griffith, 225 -26, 303 , 307 , 317 , 339 , 359 , 403 , 405 -6, 418 , 419 , 424 , 426 , 462 , 477
—and historiography, 141
—as independent exhibitor, 102 , 119 -20
—personal archive destroyed, 275
—at Precision Machine Co., 474 -75
—on pressures of release system, 450
—resistance to changing system of representation, 393 -95, 402 -7, 410 , 416 , 418 -19, 433 , 446 -53, 475
—resistance to division of labor, 6 -7, 11 , 24 , 27 , 355 , 390 -93, 406 -7
—at Rex Motion Picture Manufacturing Company, 460 -63, 465 , 466 , 469
—salary, 161 , 192 , 265 , 291 -92
—at Sunlight Arc Company, 475
—and U.S. Navy, 27 -28, 60 , 74 , 81 , 102
—and vitascope, 73 ;
alerts Connellsville;
group to opportunity, 74 ;
installs electrical system for premiere, 60 ;
as projectionist with Connellsville group in Indiana, 88 -91;
as projectionist with Connellsville group in Los Angeles, 81 -86;
works for Raft & Gammon, 102
—with Wormwood Dog and Monkey Circus, 119 -20
Porter, Everette Melbourne (brother), 17 , 265
Porter, Mary Clark (mother), 16 , 495 n.3
Porter, Thomas, (father), 16 ;
undertaking business of, 16 -17
Powell, Professor (lecturer), 124
Powell, William, 476
Powers, James T., 323
Powers, T. E., 353
Pratt, George C., 221
Precision Machine Company, 475
Prescott, Frederick M., 155
Presentationalism, 8 , 31 , 33 , 34 , 226 , 245 ;
assault on spectator, 63 , 79 , 94 , 95 , 95 -96, 97 , 264 ;
display, 41, 42 , 94 , 94 , 106 , 107 , 245 , 246 -49, 268 ;
frontal composition, 31 , 101 , 150 , 242 , 247-48 , 288 ;
performers and objects isolated against plain background, 31 , 31 , 32 , 33 , 40, 41 , 42 , 65 , 84 , 102 , 114 , 246 -47, 250 , 264 , 524 n.48
Pressberger, Eneric, 476
Prices: for film prints, 143 , 191 -92, 197 , 208 , 245 , 288 -89, 330 , 439 -40, 456 , 472 ;
for film rentals, 280 ;
for kinetoscopes, 45 , 48 , 55 ;
for projectors, 93 , 442 , 545 n.33
Proctor, Frederick F., 23 ;
hires Paley's kalatechnoscope service, 142
Proctor's Pleasure Palace (New York):
—and exhibition services: biograph, 126 , 127 ;
kintographe announced, 76 ;
Paley's kalatechnoscope, 142 , 173 ;
vitagraph, 138 ;
vitascope, 91
—provides offices for Paley's filmmaking;
activities, 142
Proctor's 23rd Street Theater (New York): and cinematograph (American Cinematograph Co.), 129 -31, 133 ;
and cinématographe, 98 ;
live performances at, 220 -21;
and Paley's kalatechnoscope, 142 , 173 ;
and vitagraph, 133 -34;
vitascope exhibition at, 91
Production practices, of cinema, 5 -8. See also Cinema;
Film production
Progressive ideology, 292 , 295 -96, 300 -302, 303 , 309
Projecting kinetoscope, 92 -93, 158
Projection technology: amateur formats (Home P. K.), 473 -74;
combination slide-film projector, 158 ;
Edison's efforts at invention of, 53 , 58 ;
endless film-band system, 63 -64;
illumination, 158 ;
intermittent mechanism introduced, 57 , 522 n.8;
reduced flicker and shaking, 118 -19, 121 , 158 ;
Simplex projector, 474 -75;
synchronous recorded sound (kinetophone, 1913), 474 ;
take-up reel, 158
Projectograph projector, 102 , 505 n.147, 506 n.174
Projectors: animatographe, 107 ;
biograph, 91 -92, 141 -43 (see also American Mutoscope & Biograph Company);
cinematograph (Eden Musee), 118 -19, 121 , 442 ;
cinéma-tographe (Joly), 118 ;
cinématographe (Lumière), 58 , 59 , 60 , 68 -69, 87 -88, 91 , 98 , 117 -18, 507 n.25 (see also Lumière, Auguste and Louis);
edengraph, 442 ;
eidoloscope (Lathams), 53 , 57 ;
Home P. K., 473 -74;
kalatechnoscope, 142 , 173 (see also Paley, . William C.);
kinetophone (1913), 474 ;
kinodrome, 239 ;
projecting kinetoscope, 151 , 158 , 159 , 237 , 255 , 327 , 329 , 457 ;
projectoscope, 92 -93, 96 -98, 505 n.147, 506 n.174;
Simplex projector, 474 -75;
viascope, 442 ;
vitagraph, 134 , 158 (see also American Vitagraph Company);
vitascope, 57 -92 (see also Vitascope Company)
Propaganda, 127 , 129 -31, 132 -36, 308 , 368 -70. See also Ideology
Proto-Hollywood system of representation, 7 , 372 , 407 , 477
Pudovkin, Vsevolod, 402
Q
Quotidian views, 63 , 65 -69, 79 , 84 , 86 , 93 -96, 101 , 102 , 105 , 106 -7, 148 -49, 151 -52, 161 , 208 , 251 , 267 , 276 , 291 , 323 , 324
R
A Race for a Wife (play), 407 , 542 n.142
Racial prejudice, 20 , 303 , 312 -14. See also Anti-Semitism
Raff, Norman C., 45 , 58 , 65 , 70 -71, 505 n.121;
incorporates Vitascope Co., 70 . See also Raft & Gammon
Raff & Gammon. See also Gammon, Frank R.;
Raff, Norman C.; Vitascope; Vitascope Company
—and kinetoscopes: decline in business, 53 -56;
form Kinetoscope Co., 44 -45;
initial marketing of business, 44 -47;
involvement in film production, 49 -53, 56 ;
liquidate Kinetoscope Co., 70 ;
market kinetophone, 53 -56;
want Edison to invent projector, 53
—and vitascope: incorporate Vitascope Co., 70 ;
and plans for exploitation of, 58 -60;
reach agreements with Armat and Edison, 57 -58;
relations with Armat and Edison, 70 -71;
rename phantoscope, 58 ;
role of, in film production, 64 -70;
sell rights to, 70 -74
Railway films, 66 -67, 95 -96, 97, 98 , 99 -100, 105 , 106 , 180 , 191 , 241 , 286 -87, 316 -17;
comic relief in, 261 , 262 -64, 287 ;
Hale's Tours and Scenes of the World, 264 -65;
viewer-as-passenger convention in, 260 -65, 287
Ramsaye, Terry, 2 , 53 , 69 , 121 , 156 , 201 , 212 , 213 , 231 , 275 , 292 , 438 ,