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
Actograph Company, 375 , 377
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 )
330 , 428 -29;
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 ;
owned, 178 , 379 ;
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 ;
curtailed (1901), 161 , 178 ;
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
Amet, Edward H., 92 , 114
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 ;
elites, 31 , 327 ;
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
Bachman, Robert, 328 , 444
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
Belasco, David, 363 , 466 -67
Benson, Erastus, 45
Bergson, Henri, 311
Bernhardt, Sarah, 464 -65
Berst, Jacques A., 278 , 439
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, Alexander, 78 -79, 396
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
Blair Camera Company, 47 , 87
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
Boulden, Edward, 391 -92, 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
Braverman, Harry, 5 -6, 11
British Film Institute, 233
British Gaumont, 253 , 256
Bronx studio, 329 , 340 , 383 , 384 , 384 -91, 449 , 453 -55, 471
Brooklyn Institute of Arts and Sciences, 35 -38, 39
Brown, Charles A., 29 , 30
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
Burlesque, 163 -64, 165
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
—Warwick camera, 333 , 375
Cameron, Walter, 253
Canadian Pacific Railroad, 192
Cannock, Francis B., 118 -19, 474 , 510 n.92
Carmencita, 40 , 42
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
Chang, Li Hung, 69 , 117
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
Cinema: as art, 427 , 462 ;
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
—framing, 105 , 107 ;
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;
two-shots, 250 , 304
—isolating performers and objects against plain background, 31 , 31 , 32 , 33 , 114 , 246 -47, 250 , 524 n.48
—lighting, 392 ;
arc lights, 191 , 388 , 475 ;
complaints about, 422 , 426 , 451 ;
Cooper-Hewitt lights, 388 ;
sunlight, 32 , 152
—reverse motion, 176
—silhouettes, 419 -20, 461
—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, Harry, 88 , 89
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 ;
as audiences, 116 -17, 327 ;
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
Cline, Eugene, 328 , 444
Close-ups, 318 -19
Cloward, N. Dushane, 244 , 251 , 524 n.53
Cock fight films, 41 , 44
Cody, William ("Buffalo Bill"), 50 , 338
Cogan, James, 417 , 466
Coke industry, 15 , 18 -20;
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;
White and Heise, 95 -101, 105
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, T. Cushing, 70 , 178
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
Decker, Karl C., 127 -28, 133
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
Deslandes, Jacques, 3 , 233
Detroit Film Exchange, 375
DeVarney, Miss, 407
Dewey, Admiral George, 132 -33, 140 -41, 143
Dibble, John P., 185
Dickens, Charles, 229 , 310
Dickson, William Kennedy Laurie:
—and Biograph Co., 58 , 70
—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
—photographs by, 30 , 39
—royalties received from Edison, 47
Dissolves: before cinema, 172 , 186 ;
by exhibitor, 64 , 172 ;
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 Lubin, 197 , 207 -8, 244 ;
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
Echard, Cyrus, 18 , 74
Edengraph projector, 442
Eden Musee, 1 , 6 , 116
—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
—nonfilm activities, 12 , 428
—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 ,
505 n.147, 506 n.174;
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 ;
Pathé, 193 , 341 -42, 424 ;
Paul, 67 -68, 192 -93;
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
—dissolves, 64 , 172
—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 ;
jump cuts, 108 , 184 , 477 ;
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;
reverse angles, 99 , 153 ;
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 ;
burlesque houses, 91 , 180 ;
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 ;
streets, 119 , 191 ;
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 ;
burlesques of, 43 , 67
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
Film stock, 47 , 495 n.44;
clear versus semi-opaque stock, 76 , 87 , 503 n.62;
cost of, 440 ;
defective, 87 , 266 ;
gauges of, 91 , 144 , 239 ;
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
Fitzgerald, Cissy, 65 , 83
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
Fynes, J. Austin, 118 , 142
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
Gilmore, William E., 13 , 72
—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
Haggard, Rider, 22 , 426
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
Hardin, John, 279 , 330
Harrington, George, 449 , 454
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
Heise, William, 33 , 115 ;
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
Hoey, James F., 50 , 113
Holden, Delos, 281
Hollaman, Richard G., 117 -19;
and passion play films, 121 , 138 ;
promotes Simplex projector, 474
Holland, Andrew, 45 , 87
Holland, Edwin, 293 -94
Holland Brothers, 45 , 87
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
Hopkins, George M., 35 , 37
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
Irwin, May, 65 , 80 , 83
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
Kessel, Adam, 440 , 445
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
Kinemacolor, 401 , 439
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 ;
offices of, 159 -60, 333
Kinetograph Department. See Edison Manufacturing Company
Kinetophone (1895; peep-hole), 53 -56
Kinetophone (1913), 473 , 474
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;
manufacture of, 38 -39, 48 ;
no longer profitable, 93 ;
parlors featuring, 42 , 44 -47, 48 , 49 , 75 ;
prices, 45 , 48 , 56 ;
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 Kalem Co., 329 , 377 ;
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 ;
Music Hall, 61, 62 , 65 ;
and premier of vitascope, 59 , 60 -64, 76 , 90
Koszarski, Richard, 541 n.135
Kremer, Theodore, 407
Kuhn, Edmund, 41 , 92 , 225
Kuleshov, Lev, 249 , 402
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, Gray, 45 , 77 , 86
Latham, Otway, 45 , 48
Latham, Woodville, 45
Latham family: and eidoloscope, 57 , 60 ,
70 , 77 , 86 -87;
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
Leander Sisters, 106 , 107
Lee, Fitzhugh, 127 , 130
Lee, Van C., 366 , 395 -96
Léger, Fernand, 476
Lehigh Valley Railroad, 95 -96, 97 , 98 -99
Leigh, Fred W., 348
Leigh Sisters, 55 , 62
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 ;
arc lights, 191 , 388 , 475 ;
complaints about, 422 , 426 , 451 ;
Cooper-Hewitt lights, 388 ;
sunlight, 32 , 152
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
Loew, Marcus, 328 , 399
Lombard, Thomas, 45
London Daily Mail , 132
Long, Samuel, 329 , 439
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
McCay, Winsor, 341 -42, 343
McChesney, L. C., 317 , 472
McClellan, Mayor George Brinton, 428
McCoy, Joseph, 266 -67, 278 , 381 , 384 , 416 -17
McCutcheon, Wallace:
—at Biograph, 276 , 281 ;
leaves, 335 ;
returns, 384
—at Edison, 405 , 461 ;
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 ;
funeral, 184 -86, 517 n.68;
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
Markell, F. E., 18 , 74 -75
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
Mutoscopes, 58 , 143
Muybridge, Eadweard, 29 , 32 , 34 , 35 , 37 , 475
N
Nairs, Phineas, 297 , 392
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
Newspapers, 40 , 163 , 167 ;
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 Herald , 60 , 136
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
Niver, Kemp, 4 , 171
Norcross, J. F., 18 , 21
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
Off-screen space, 225 , 226
Olcott, Sidney (John Sidney Allcott), 402 , 456 -57
Old maids, 167
"On a Good Old Five Cent Trolley Ride" (song), 320
O'Neill, James, 242 , 465
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
Paley & Steiner, 310 , 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 ;
tilts, 153 , 154 , 175 -76;
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
Phantoscope, 89 , 501 n.7
Phillips, Augustus, 392
Phonograph, 71 , 75 , 117 , 145 , 235 ;
as adjunct to films, 151 -52;
for kinetophone, 53 -55, 473
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;
circuses, 51 , 100 -101;
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 ;
photographs, 34 , 163 ;
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 Balsley, 25 , 26;
with Dawley, 383 -85, 390 -93, 402 , 417 , 450 , 461 , 466 -69;
with Fleming, 160 -62, 192 ;
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;
family, 16 -18, 495 nn.1, 3 ;
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
Pre-cinema, 8 -9, 10 , 100
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 ;
indication, 7 , 242 ;
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
Prior, Herbert, 390 , 392
Proctor, Frederick F., 23 ;
hires Paley's kalatechnoscope service, 142
Proctor's Pleasure Palace (New York):
—and exhibition services: biograph, 126 , 127 ;
cinématographe, 98 , 117 -18;
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 ;
reframing device, 134 , 151 ;
shutter, 237 , 522 n.8;
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 ;
phantoscope, 57 , 58 ;
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 , 492 -93n.13, 505 n.147, 511 -12n.130, 529 n.145, 536 n.77
Ranous, William V., 449 , 536 n.77
Ray, Carrie Louis, 78
Raymond, Mellville B., 268
Realism, 55 , 62 , 63 , 83 , 84 , 167 , 211 , 259 , 264 -65, 293 -94, 306 -7, 308 -9, 331 , 388 , 401 -2, 416 , 420
Reception of films, factors in: audience foreknowledge, 182 , 202 , 203 , 243 -44, 340 -53, 393 -94, 403 , 407 , 420 -21, 494 n.28;
crisis in audience comprehension, 393 -96, 400 -403, 418 -19, 422 -24, 426 , 446 -53;
genre-based expectations, 218 -21, 255 -56;
ideological "slippage" and nickelodeons, 320 -21, 328 , 355 ;
reliance on lecture, dialogue, or effects, 182 , 202 , 205 , 243 , 359 -67, 369 , 393 -94, 407 ;
self-sufficient narratives within film, 198 -200, 260 , 353 -59, 367
Rector, Enoch, 45
Reenactments, 146 , 188 -90, 193 -94, 257 -59, 307 -8, 427 , 518 n.85
Reichert, Julia, 476
Release schedule, 469 , 471
Religious films, 287 -89
Religious institutions, 23 , 66 , 328 , 427 -28, 431 , 536 n.94
Remakes. See also Duping
—by Edison or Porter of films 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 ;
Pathé, 193 , 341 -42, 424 ;
Paul, 67 -68, 192 -93;
Smith, 245 -46;
Williamson, 219 -20
—remakes of Edison films by others, 198 -200, 244 -45
Renters. See Film exchanges
Representational practices. See also Cine-matography; Editing; Exhibitors; Film production; Narrative; Set design; Temporality
—crisis in and shift toward proto-Hollywood system, 393 -407
—interrelationship of techniques, 200 , 211 , 226 , 309 , 351
Representational practices (continued )
—mismatches in screen direction, 351
—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 compositions, 31 , 101 , 150 , 242 , 247-48 , 288 ;
indication, 7 , 242 ;
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
—shift toward proto-Hollywood system, 7 , 372 , 403 -7, 461 , 469 , 477
—shots conceived as self-contained units, 201 -2, 224 -25, 226 , 242 -43, 309 , 351
—syncreticism, 8 , 167 , 172 , 211 , 226 , 249 , 274 , 285 , 287 , 351 -52, 409
Republican party, 183
Resistance to rationalization and efficiency, 6 , 7 , 11 , 24 , 27 , 355 , 392 -93, 394 , 406 -7, 417 -18, 433 , 449 -50, 458 , 475 -77, 535 n.74
Rex Motion Picture Manufacturing Company, 460 -63, 464 , 465 , 466 , 469
Rice, Edward E., 50
Rice, John C., 65 , 80 , 83
Richard, Jacques, 233
Ridgely, Cleo, 461
Rieser, Allen F., 74 , 88 -89
Riis, Jacob, 523 n.25
Rip Van Winkle (play), 242
Rising, Will S., 268 -72, 269 , 292 , 297 , 424 , 459
Robetta and Doreto, 50
Rob Roy (musical comedy), 51
Rock, William T., 144 , 380
Roosevelt, Theodore, 135 , 322 , 368 , 369 -70
burlesqued on film, 163 -66, 169 -71, 275 , 303 -4, 349 -51;
as film subject, 131 , 185
Rosenzweig, Roy, 9 , 34
Ross, Duncan C., 50
Rothapfel, S. F., 470
Ruhlin, Gus, 191
Russo-Japanese War, 273 -74, 322 -23
Rychner, Jean, 228 -29
S
Sackville, Gordon, 392 , 460
Sadoul, Georges, 3 , 219 , 232 , 515 -16n.41
St. Louis Exposition. See Louisiana Purchase Exposition
St. Loup, Maurice George Winterbert, 454
Sampson, William Thomas, 181 -84
Sandow, Eugene, 39 -40, 41
San Francisco Call , 78
San Francisco Chronicle , 78 , 79 , 80
San Francisco Examiner , 77 , 78 , 79 , 80
Saroni, Gilbert, 167 -69, 169 , 173
Sawyer, Laura, 392 , 455 , 463 , 466 , 468 , 471
Sayles, John, 476
Schauffler, Alfred Theodore, 151 -52
Schermerhorn, John, 155
Schivelbusch, Wolfgang, 260 -61
Schley, Winfield Scott, 181 -83, 516 n.60
Schneider, Eberhard, 118 , 136 , 137 , 154 , 333 , 508 n.30
Schneider, Henry, 449
Schreyer, "Dare Devil," 191
Schulberg, Benjamin P., 466 , 468 , 469 , 548 n.8
Schulberg, Budd, 548 n.8
Screen direction, mismatches in, 351 . See also Editing
Screen practice: cinema reintegrated into, 100 ;
renewed focus on, 79 . See also Cinema; Illustrated lectures; Illustrated songs
Scull, George F., 438 , 439
Searchlight Theater, 185
The Secret of Success (illustrated lecture), 75
Self-reflexive elements in film, 169
Selig, William N., 249 , 262 , 289 , 328 ;
and film productions, 124 , 218 , 239 , 310 , 329 , 335 , 417 , 450 -51, 465 , 473 ;
and Motion Picture Patents Co., 439 , 442 ;
sued by Edison, 333 , 375 -76
Sennett, Mack, 259 , 307
Set design, 8 , 331 , 391 , 426 , 451 ;
miniatures, 331 , 331 , 342 ;
reliance on drops and simple flats, 150 , 171 , 190 , 242 ;
sets used for exteriors, 285 , 285 , 357 -59, 410 , 411 ;
theatrical foreshortening, 182 , 273 , 516 n.65;
three-dimensional sets, 200 ;
use of theatrical sets, 242 -43, 288 . See also Film production; Representational practices Space
Sexuality, 102 , 304 , 428 , 473
Shafter, General William Rufus, 131
Shakespeare, William, 304 , 395
Sharkey, Tom, 79
She (play), 22
Sheffield Photo Company, 253
Sights and Scenes in Europe (travel lecture), 23
Sigsbee, Captain Charles, 127
Silverman, Sime, 349 -50, 360 , 415 , 425
Simplex projector, 474 -75
Sinbad (melodrama), 89
Sklar, Robert, 3 , 254 , 427
Slavin, John C., 50
Slides. See Lantern slides
Smalley, Phillips, 461 , 463 , 465
Smith, Albert E., 93 , 439 ;
purchases projecting kinetoscope with J. Stuart Blackton, 93
Smith, Charles, 396
Smith, George Albert, 200 , 226 , 238 , 243 , 245 -46, 259 , 401 , 439 , 515 n.37;
on reasons to accept an Edison license (1907), 375
Smith, Jacob (James) Blair: as cameraman, 184 , 192 , 197 , 251 , 254 , 285 , 291 , 370 ;
hired by Edison, 178 ;
sent to Martinique, 208 ;
as technical expert and head of print production, 179 , 251
Sorelle, William, 392 , 455
The South Before the War (revue), 50
Southern Pacific Railway, 108 , 110
Space: constructed by relations between shots, 99 -100, 148 -49, 198 -200, 225 , 261 ;
off-screen, 211 , 225 . See also Editing; Point-of-view structures; Set design
Spanish-American War, 126 -37, 138 , 181 -84, 369 ;
and Dewey celebrations in New York, 140 -41
Special effects: dream balloons and visions, 174 , 200 -201, 203 , 205 , 223 -24, 412 , 412 ;
masks, 273 , 345 , 346 , 414 , 419 ;
mattes, 193 , 263 -64, 412 , 414 ;
optical reduction printing, 192 -93;
reverse motion, 176 ;
silhouettes, 419 -20, 461 ;
split-screen exposures, 192 -93, 341 , 342 ;
time-lapse photography, 186 , 187 . See also Trick films
Spectacle, 200 , 220 , 222 , 226 , 412 , 415
Spenser, Len, 399
Split-screen effects, 192 -193, 341 , 342
Spooner Stock Company, 383 , 392
Spoor, George K., 178 , 439 ;
and Association of Edison Licensees, 375 , 377 ;
forms Essanay, 329 ;
kinodrome exhibition service, 239 ;
and Motion Picture Patents Co., 442 . See also Essanay Film Manufacturing Company
Sportagraph projector. See American Sportagraph Company
Staiger, Janet, 6 , 161 , 449 , 529 n.159, 546 n.67
Standard Film Exchange, 382
Steiner, William, 310
Steppling, John, 455 , 466
Stereotypes:
—bad boy, 267 -72
—country rube, 165 , 167 , 172 , 209 -11, 274 , 289 , 307 , 419 , 422 -23
—ethnic groups, 21 , 50 ;
African Americans, 303 , 312 -14, 366 , 530 -31n.29;
American Indians, 360 -63, 366 , 425 -26;
Asians, 259 , 344 ;
Irish, 69 , 171 , 176 , 259 , 289 ;
Italians, 43 , 344 ;
Jews, 351 -53, 460 ;
Mexicans, 360 -63
—old maids, 167 -69, 304
Stetson Comedy Company, 21
Stevens, George E., 375 , 388 , 391
Stevens, Will H., 399
Stoddard, John L., 122 , 261
Stop-motion substitutions, 55 , 167 , 171 , 245 , 288 . See also Editing
Story films: duped by Edison, 235 ;
increased nationalism in, 241 -42;
initial Edison production of, 198 -234, 253 -65, 276 -77;
necessity for, 324 . See also Narrative
Stowe, Harriet Beecher, 242
Strongheart (play), 425
Studios: Biograph's, 253 , 339 , 524 n.54;
Edison's Black Maria (1893), 32 , 34 , 36 , 38 , 39 -40, 47 -48, 50 , 64 -65, 101 -2, 113 -14, 115, 158 , 159 ;
Edison's Bronx studio (1907), 329 , 340 , 383, 384 , 384 -90, 391 , 449 , 453 -55, 471 ;
Edison's 21st Street studio (1901), 158 -60, 194 , 197 , 253 , 449 ;
Raff & Gammon's makeshift roof-top studio (1896), 69
Sullivan, Francis, 392 , 417
Sullivan, John L., 22
Sullivan, Mr. (actor), 392
Sutro Baths, 106
Swanson, William H.: as film renter, 328 , 374 , 381 -82, 399 , 434 , 443 -44;
as Porter's business partner, 459 -60, 548 n.8;
on quality of Edison films, 428
Syncreticism, 8 , 167 , 172 , 211 , 226 , 249 , 274 , 285 , 287 , 351 -52, 409
T
Talking pictures (dubbing dialogue behind screen), 392 -402
Tally, Thomas L., 45 , 75 , 85 -86
Tate, Alfred O., 45
Taylor, Frederick, 236
Taylor, Stanner E. V., 450 , 463
Technology, 11 -12, 24 -26;
cinema as technological novelty, 100 ;
represented in film, 274 -275. See also Camera technology; Film developing and printing; Projection technology
Techow's cat show, 80
Temporality, 8 , 405 -7, 416 , 427 , 461
—attenuated, 359
—between shots: abridgements, 205 -7;
linear continuity, 403 -7, 424 , 427 ;
overlaps, 99 -100, 224 -30, 256 , 309 , 351 , 410 ;
repetitions, 194 , 225 -30, 243 , 254 -56, 359 , 406 , 529 n.147, 530 n.12;
underdeveloped, imprecise, or confusing continuities, 149 , 153 , 174 , 200 , 206 -7, 255 , 356
—within shots;
condensed representations of off-screen actions, 173 , 225 -26, 242 , 359 , 405 , 407
—simultaneity indicated by split screen, 424 , 425
Theater, 167 ;
close relationship of to screen practice, 201 . See also Acting and Actors; Exhibition venues; Filmed theater; Plays
Theatre Magazine , 230 , 232
Thomae, Robert, 56
Thomas, Brandon, 409
Thomas Edison, Inc., 463 -64, 471 -75
Thomas Porter & Co., 16 -17
Thomson, Frederick, 470
Thorne's Comedy Company, 21
Tilden, Samuel J., Jr., 48
Titles, 353 , 356 , 415 . See also Intertitles
Toledo Film Exchange, 399 , 440
Tourism, 96
Trachtenberg, Alan, 23
Tramp comedies, 165 , 173 -74, 180 , 263 , 287 , 311 -12
Trauberg, Ilya, 317
Traveling exhibition, 84 -85, 124 , 142 , 185 , 251
Travelogues (travel lectures), 10 , 100 , 234 , 260 -61, 327 , 368 -71, 536 n.94;
spoofed, 262 -64, 285 -86
Travel scenes, 84 , 95 -96, 97 -98, 108 -12, 122 , 144 , 152 -53, 209 , 240 , 249 , 264 , 274 , 285 , 368 -71, 457 , 506 -7n.5
Trick films, 139 , 176 , 341 -42, 404 -5, 423 , 429 -30, 447 , 460
Trilby (play), 52
Tschernoff, Professor Ivan (owner of performing dogs), 50
20th Century Optiscope, 328 , 375 , 381
21st Street studio, 333 , 339 , 391 , 397 , 449 , 451 , 454
U
Ullman, Isaac W., 376 , 380 , 444
Uncle Tom's Cabin (play), 22 , 242 -45
Under Two Flags (play), 383
Union Iron Works, 110
United Film Service Protective Association, 376 . See also Film Service Association
Urban, Charles, 401 , 439 . See also Charles Urban Trading Company
Urban-Eclipse Film Co., 381 , 438 -39
U.S. Navy, 27 -28, 126 -28, 131 , 133 , 140 -41
V
Vardac, A. Nicholas, 201 , 365
Variety , 325 , 349 , 360 , 382 , 394 , 409 , 413 , 415 -16, 423 , 425 , 430 , 434 , 469 -70
Vaudeville: compared to cinema, 429 ;
depicted in films, 251 -52, 252 ;
film as a permanent feature on bill, 141 , 151 ;
impact on film production, 158 ;
and novelty, 81 ;
as venue for exhibition services, 144
Velle, Gaston, 341
Veriscope Company, 139
Verisimilitude, 8 , 62 -64, 163 . See also Realism
Viascope projector, 442
Victoria, Queen, 119 -20
Victoria, Vesta, 333 , 347 , 396 , 397 -98
Views and Film Index , 347 , 357 -58, 374 , 427
Vincent, Henry C., 121
Visual newspaper. See Cinema . . . as a visual newspaper
Vitagraph Company of America. See American Vitagraph Company
Vitascope (Edison's vitascope), 1 , 73 ;
and activities of Connellsville group, 73 -86, 88 -91, 503 n.54;
exhibition fees charged for, 60 , 72 ;
exhibition methods used, 63 -64;
local openings, 77 -78, 82 , 83 ;
New York premiere, 59 , 60 -64;
an outmoded machine, 92 ;
phantoscope renamed, 59 , 501 n.7;
press screening, 59 -60;
private screening for Edison, 59 ;
quantity produced, 92
Vitascope Company: and competitors, 86 -89, 91 -92;
and Connellsville group, 73 -86;
decline and demise of, 91 -93, 505 n.150;
Edison's break with, 92 -93;
organization and incorporation of, 70 ;
sales prices, 74 , 75 -76;
"states rights" method of exploitation, 70 -74, 75 , 87 , 92 , 502 n.48. See also Raft & Gammon
Von Stroheim, Erich, 7
Voyeurism, 40 , 44 , 114 , 179 -80, 246 -47, 267 ;
male, 346
W
Waddell, William E., 474
Wade, John, 392
Wagner, Richard, 288
Wagner from Within and Without (illustrated lecture), 288
Waite Comedy Company, 96
Waiting at the Church (song), 14 , 347 -49, 396 , 397
Walkover Shoe Company, 370 , 378
Wallace, Judge William James, 196 , 197 , 333
Walter, Gustave, 77
Walton, Charles, 50
War films (acted), 146 -48, 150 -51, 181 -84, 273 -74, 415 -16
"Wargraph" projector, 129 -131, 133. See also American Cinematograph Company; Spanish-American War
Waring, Bertha, 51
Warner brothers, 328
Warwick Trading Company, 196 ;
camera made by, 333 , 375
Washington, Booker T., 275
Waters, Percival, 155-56 , 527 n.128;
approves hiring of Alex Moore, 265 -66;
and film production, 280 -81, 368 ;
on office space, 159 -60, 333 . See also Kinetograph Company
Weber, Lois, 454 , 461 , 463 , 465 , 470
Webster, Charles H.: joins Raft & Gammon, 56 ;
and kinetoscope exhibition, 45 , 56 ;
leaves Raft & Gammon, 92 ;
takes vitascope to Europe, 60 ;
works for Edison Co., 513 n.168
Webster, Frank, 368
Weed, A. E., 291
Weller, G. J., 93
Welles, Orson, 1
Welton, Professor Harry (owner of cat circus), 50
Westchester Athletic Club, 139 -40
Westerns, 254 , 360 -63, 407 , 460 -61
Westinghouse Company, 25
Wheeler, Judge Hoyt Henry, 176 -78
White, Arthur S., 200 , 209 , 240 , 520 n.131, 520 n.2
White, Grace Miller, 469
White, James Henry, 10
—as actor and singer, 148 , 150 , 187 , 212 -14, 225 , 508 n.36
—with Edison Co.: film production (1896-1897), 93 -102, 146 -54;
as head of Kinetograph Department (1896-1903), 13 , 93 , 140 -41, 145 , 146 , 158 , 161 , 197 , 339 , 513 n.168;
and Life of an American Fireman , 212 -20;
at Pan-American Exposition and McKinley funeral (1901), 175 -76;
rehired by Edison Co., 453 , 458 ;
trip to California, Mexico, and the Far East (1897-1898), 105 -12, 114 , 125 , 285 , 506 n.2, 506 -7nn.5, 6 ;
trip to Europe (1902), 197 -98;
trip to Paris Exposition (1900), 152 -53;
trip to West Coast and Mexico (1901-1902), 191 -92;
trip to West Indies (1902), 240 , 285
—exhibits kinetoscope with Holland
Brothers, 45
—as head of Edison's European office, 235 -36;
sends European films to U.S. office for duping, 239 , 277
—as independent exhibitor, 45 ;
sells kinetoscopes and returns to phonograph business, 56
—and Kinetograph Company, 155 -56
—marries Pauline Dede, 213
—with Raft & Gammon, 60 ;
helps incorporate Vitascope Co., 70 ;
involved in film production, 64 -70
Whitford, Annabelle, 40 -41, 87 , 102
Whittier, Robert, 288
The Widow Jones (musical comedy), 65 , 80
Wilder, Marshall, 143
Williams, Brown & Earle, 376 , 379 -80, 435
Williams, Percy, 133
Williamson, James, 3 , 206 -7, 219 , 238 , 259
Willis, Susanna, 338
Wilson, Charles H., 416 -17, 448 , 450 , 453 -54, 472
Wilson, John W., 51
Winchester (play), 101
Women:
—as film subjects, 198 -99, 245 , 280 -82, 300 -302, 305 -7;
assuming male roles, 280 ;
as objects of male desire, 40 -41, 42 , 60 , 64 , 65 , 93 -94, 102 , 107 , 113 -14, 114 , 179 , 180 , 198 -99, 246 -48, 262 -64;
old maids, 167 -69, 245 , 280 -82, 304 ;
subservient to patriarchy, 55 , 60 , 346 -47, 355 ;
as victims, 213 -18, 223 -25
—as spectators: in heterosocial framework, 42 -44, 180 ;
in homosocial framework, 31 , 42 -44
Woods, Frank, 403 , 415 , 422 , 451 , 460 -61
Working methods: collaborative approach to invention, 25 , 32 -35, 105 , 293 ;
and leisure, 34 , 39 , 42 , 105 , 245 , 249 -51;
nonhierarchical, 33 -35;
regimentation of, 355 , 535 n.74. See also Collabora-
Working methods (continued )
tive system of film production; Exhibitors; Film production
Workplace films, 32 -35, 35 , 39 , 42 , 51 , 67 , 102 , 245 -48, 355
World Film Manufacturing Company, 459 , 548 n.8
World's Columbian Exposition, 32 , 39 , 144 , 498 -99n. 15
Wormwood's Dog and Monkey Circus, 119 -20, 249 -50, 250 , 515 n.33
Wright, William L., 108 , 520 n.146
X
X-rays, 79 , 80 , 120 -21, 501 n.10
Y
Yale Amusement Company, 381 -82
Yberri, Lola, 56
Yellowstone National Park, 368 , 370
Young Men's Christian Association, 24
Z
Zecca, Ferdinand, 262 -63, 404 -5, 515n.37
Zorah (play), 316
Zukor, Adolph, 230 , 265 , 399 -400, 401 ;
and Famous Players, 464 -65, 467 , 469 , 471 , 473
Zwerin, Charlotte, 476