Motion Pictures - 6

Motion Pictures - 6

The earliest form of exhibiting apparatus, known as the Kinetoscope, was a machine in

which a positive print from the negative obtained in the camera was exhibited directly to

the eye through a peep- hole; but in 1895 the films were applied to modified forms of

magic lanterns, by which the images are projected upon a screen. Since that date the

industry has developed very rapidly, and at the present time (1910) all of the principal

American manufacturers of motion pictures are paying a royalty to Edison under his

basic patents.

From the early days of pictures representing simple movements, such as a man sneezing,

or a skirt-dance, there has been a gradual evolution, until now the pictures represent not

only actual events in all their palpitating instantaneity, but highly developed dramas and

scenarios enacted in large, well-equipped glass studios, and the result of infinite pains

and expense of production. These pictures are exhibited in upward of eight thousand

places of amusement in the United States, and are witnessed by millions of people each

year. They constitute a cheap, clean form of amusement for many persons who cannot

spare the money to go to the ordinary theatres, or they may be exhibited in towns that are

too small to support a theatre. More than this, they offer to the poor man an effective

substitute for the saloon. Probably no invention ever made has afforded more pleasure

and entertainment than the motion picture.

Aside from the development of the motion picture as a spectacle, there has gone on an

evolution in its use for educational purposes of wide range, which must not be

overlooked. In fact, this form of utilization has been carried further in Europe than in this

country as a means of demonstration in the arts and sciences. One may study animal life,

watch a surgical operation, follow the movement of machinery, take lessons in facial

expression or in calisthenics. It seems a pity that in motion pictures should at last have

been found the only competition that the ancient marionettes cannot withstand. But aside

from the disappearance of those entertaining puppets, all else is gain in the creation of

this new art.

The work at the Edison laboratory in the development of the motion picture was as usual

intense and concentrated, and, as might be expected, many of the early experiments were

quite primitive in their character until command had been secured of relatively perfect

apparatus. The subjects registered jerkily by the films were crude and amusing, such as of

Fred Ott's sneeze, Carmencita dancing, Italians and their performing bears, fencing,

trapeze stunts, horsemanship, blacksmithing--just simple movements without any attempt

to portray the silent drama. One curious incident of this early study occurred when "Jim"

Corbett was asked to box a few rounds in front of the camera, with a "dark un" to be

selected locally. This was agreed to, and a celebrated bruiser was brought over from

Newark. When this "sparring partner" came to face Corbett in the imitation ring he was

so paralyzed with terror he could hardly move. It was just after Corbett had won one of

his big battles as a prize-fighter, and the dismay of his opponent was excusable. The

"boys" at the laboratory still laugh consumedly when they tell about it.