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Friday, February 6th, 2009 at 4:04 am

Kinetoscope

Development
Sheet images of the three films antics (ca. 188 990) produced as evidence of an early version of the Kinetoscope
An encounter with the work and ideas of photography pioneer Eadweard Muybridge appears to have spurred Edison to pursue the development of a system of moving images. 25 February 1888 in Orange, New Jersey, Muybridge gave a lecture that may have included a demonstration of their Zoopraxiscope, a device that projects images sequential drawn around the edge of a glass disc, producing the illusion of motion. Edison facilities were very close, and possibly lecture was attended by both Edison and his company's official photographer, William Dickson. Two days later, Muybridge and Edison met at Edison's laboratory in West Orange, later described how Muybridge proposed a collaboration to join his device with the combined Edison phonograph that plays the sound and images simultaneously. Without such collaboration took place, but in October 1888, Edison filed a preliminary complaint, known as a warning, with the U.S. Patent Office announces plans to create a device to do "for the eye what the phonograph does for the ears." It is clear that it was intended as part of a complete audiovisual system: "we see and hear a whole Opera as perfectly as if actually present. "In March 1889, a second warning was presented, which was given the proposed film device a name, Kinetoscope, derived from Greek roots Kineto ("move") and Scope ("to see").
Edison assigned Dickson, one of its employees most talented, the task of making the Kinetoscope a reality. Edison to take full credit for the invention, but the historiographical consensus is that the title of creator can hardly be a man:
While Edison seems to have conceived the idea and initiated the experiments, apparently, Dickson made the most of the experiments, what most modern scholars to assign the credit Dickson to convert the concept into a practical reality. Edison's laboratory, however, worked as a collaborative organization. Laboratory assistants were assigned to work on many projects while Edison supervised and involved and engaged in varying degrees.
Dickson and then his top aide, Charles Brown, moved hesitatingly at first. Edison's original idea involved recording locate photographs, 1 / 32 of an inch wide, directly on a cylinder (also referred to as a drum "), the cylinder, made of an opaque material so that the positive images or glass for negatives, collodion was filled in to provide a photographic base. A cylinder offer audio synchronized sound, while images rotation, almost operatic in scale, is seen through a microscope-like tube. When the tests are carried out on images expanded to a mere eighth of an inch in width, the coarseness of the silver bromide emulsion used in the cylinder unacceptably became apparent. Around June 1889, the lab began working with leaves sensitized celluloid, supplied by John Carbutt, which could be wrapped around the cylinder, which provides a much higher recording still images. The film for the first time the Kinetoscope, and apparently the first film ever produced on photographic film in the United States, could have received a shot at this time (there is an unresolved debate about whether it was in June 1889 and November 1890), known as the antics, No. 1, shows an employee of the laboratory in a screen apparently tongue in cheek of physical prowess. Attempts to synchronize the sound were soon back, while Dickson also experiment with disk-based designs exhibition.
An acre in size, Edison exhibit at the Exposition Universelle station includes all power. (Smithsonian Institution / William J. Hammer Collection)
The project in brief lead in more productive directions, largely driven by Edison trip to Europe and the Universal Exhibition Paris, which departed August 2 and 3, 1889. During his two months abroad, visited Edison Etienne-Jules Marey scientific photographer, who had devised a firearm "chronophotographic" portable camerahich first film is using a flexible film strip designed to capture sequential images at twelve frames per second. On his return to the United States, Edison filed another notice of patent, November 2, describing a Kinetoscope not only based on a strip of flexible film, but in which the film was perforated to allow engagement of gears, making driving much smoother mechanical and reliable. The first theater system using the image of a paper tape was apparently Thtre Optics, patented by French inventor Charles-Reynaud miles in 1888. system Reynaud's no use of photographic film, but the images painted on the frames of the gelatin. At the Universal Exhibition, Edison would have seen both in Optics and electrical tachyscope Thtre Ottamar Anschtz German inventor. This projection device-disc is often referred to as an important source for developing conceptual the Kinetoscope. Its major innovation was to take advantage of the persistence of vision theory by using a light flashing for a moment to "freeze" the projection of each image, the objective was to facilitate the retention of the viewer in many different stages of a thorough photographed activity, which produces an illusion too effective constant motion. In late 1890, intermittent visibility would be integral to design of the Kinetoscope.
The question of when Edison's laboratory began work on a film tape device is a matter of historical debate. According to Dickson, in the summer of 1889, began to cut rigid sheets Carbutt provided by celluloid strips for use in a prototype machine in August, by his description, he attended a demonstration of the new film by George Eastman flexible and was given a scroll by a representative of Eastman, which is applied immediately to the experiments with the prototype. As described by historian Marta Braun, Eastman product
was strong enough, thin and flexible to allow the intermittent movement of the film strip behind [a camera lens] to considerable speed and under great strain without breaking ... [Stimulant ing] almost immediate solution of the essential problems of the invention of cinema.
Carlos Edison's laboratory Kayser sitting behind the Kinetograph. Portability was not among the virtues of the camera.
Some scholarsn particular, Gordon Hendricks, in the Edison film Myth (1961) argued that the laboratory bird began work on a film strip machine much later and Dickson and Edison distorted date set the priority for reasons of patent protection and the state both intellectually. In any case, although the film historian David Robinson says that "experiments cylinder appears to have been carried out until the end "(ie, the final months of 1890), and in September 1889hile Edison was still in Europe, but with the laboratory regularly for Dicksonhe definitely placed its first order with the Eastman company for roll film. Three more orders for roll film were placed over the next five months.
Only sporadic work was done in the Kinetoscope in 1890 as much of Dickson company focused on Edison lose millingetween ore in May and November, free of charge at all were billed to the account of the laboratory Kinetoscope. In early 1891, however, Dickson, head of his new assistant, William Heise, and another lab employee, Charles Kayser, had succeeded in developing a movie based on the strip functional vision system. In the new design, the mechanics of which is in a wooden cabinet, a loop of 19 mm horizontally configured (3 / 4 inches) of film ran around a series of axes. The film, a single row of holes engaged by a sprocket wheel electric drive was developed continuously under a magnifying glass. A light bulb shone from beneath the film, casting his images in circular format on the lens and then through a peephole in the top of the box. As described by Robinson a rapidly rotating shutter "allows a flash of light so brief that [every picture] appeared to be frozen. This rapid series of apparently still frames appeared, thanks to the persistence of vision, such as a moving image. "The lab also developed a camera with a motor that the Kinetograph, able to shoot the film sprocket again. Steer the intermittent movement of the film in the camera, allowing the strip to stop long enough so that each frame could be fully exposed and then move quickly (in about 1 / 460 of a second) to the next frame, the sprocket wheel has hired to strip was driven by a disk of flight mechanismhe first practical system for high speed and in stop motion film that would be the basis for the next century of cinema.
Strip of 35mm film production Edison Butterfly Dance (ca. 189 495), with Annabelle Whitford Moore, in a format that would become standard for both classes and motion pictures, picture all over the world.
On May 20, 1891, the first public demonstration of a prototype Kinetoscope was given in the laboratory for approximately 150 members of the National Federation of Women's Clubs. The New York Sun describes what club women saw in the pine box "small" were:
At the top of the box had a hole perhaps an inch in diameter. As they looked through the hole they saw the image of a man. Era a wonderful picture. It bowed and smiled and waved his hands and took off his hat with perfect naturalness and grace. Every movement was perfect ....
The man was Dickson, the film bit, about three seconds, which is now known as Dickson Greeting. On 24 August, three types of patent applications were presented: the first for a camera "Kinetographic", the second of the chamber and the third of a device "to the photo exhibition moving objects. "Kinetograph In the first application, Edison said:" I have been able to take with one camera and a film tape to forty-six frames per second ... I do not want to limit the scope of my invention to this high rate of speed ... and that with some speed issues as low as thirty frames per second or lower, if it is enough. "In fact, according to the Library of Congress archive, based on data from a study by the historian Charles Musser, Greeting Dickson and at least two movies made with the Kinetograph in 1891 were shot at 30 frames per second or slower yet. The application also includes Kinetoscope a plan for a system of stereoscopic projection film which was apparently abandoned.
In the spring of next year, began the steps to make the operation currency, through a nickel slot, part of the mechanics of the display system. In the fall of 1892, the design of the Kinetoscope was practically complete. The strip of film, based on stock manufactured by Eastman for the first time, and then from April 1893 onward, Blair Co. of New York's camera was 35 mm (1 3 / 8 inches) wide, each vertical frame was sequenced a rectangular image and four holes on each side. In a few years, this basic format will be approved worldwide as the standard for films, which remains to this day. The publication in 1892 of Phonograms 10 film sequences shot in format Kinetograph shows that had already been reconfigured to produce films with the new movie. On the Kinetoscope own, there is significant disagreement on the location of the blind by providing the crucial effect intermittent visibility. According to a report by the inventor Herman Casler described as "authoritarian" by Hendricks, who personally examined five of the six first-generation devices are still vulnerable, "Just above the film ... a shot wheel five radios and a very small rectangular opening in the [wheel rotates] directly on the film. An incandescent lamp ... is placed under the film ... and light passes through the film, the opening of the shutter, and the magnifying glass ... in the eye of the observer at the opening at the top of the box. "Robinson, Instead, says shutterhich agrees only one position lower openings, "between the lamp and the film." The description Caslerendricks is supported by the Kinetoscope diagrams accompanying the patent application in 1891, in particular, the diagram 2. A side view, it illustrates the trip, but demonstrates the impossibility of the same connection between the lamp and the film without a significant redesign and indicates a space that seems right to enter the film and lens. Robinson's description, however, is supported by a photograph of the interior of a Kinetoscope that appears in the book itself Hendricks.
On February 21, 1893, was issued a patent for the system that governs the intermittent movement of film in Kinetograph. The escape mechanism based on that in a few years would be replaced by competing systems, including those based in Geneva called unity or "Maltese Cross", which became the standard for movie cameras and projectors both. The device itselfhich exposure, despite erroneous accounts otherwise never employed intermittent film movement, lighting or viewing only intermittent finally awarded his patent, number 493 426 on 14 March. The Kinetoscope was ready for presentation.
Going public
The construction of the imposing Mary Black began in December 1892. In order to maximize sunlight, tar Paperino study was equipped with a folding roof, flip-up and the whole structure could turn into a track. "It does not obey the rules of architecture," said Dickson, who was "productive of the happiest effects in movies."
The release of the completed Kinetoscope was not taken into Chicago World's Fair, as originally planned, but the Brooklyn Institute of Arts and Sciences on May 9, 1893. The first film was shown publicly for the system was Blacksmith Scene (also known as blacksmiths), led by Dickson and shot by Heise, was produced in Film studio building new Edison, known as the Black Mary. Despite extensive promotion, a principal of the Kinetoscope, involving twenty-five machines never took place in the exhibition in Chicago. Kinetoscope production had been delayed, partly due to the absence of more Dickson eleven weeks earlier this year with a nervous breakdown. Robinson argues that "[s] peculation that a single Kinetoscope came to the Fair seems to be conclusively dismissed 1894 for a brochure issued by the implementation of the invention in London ", which states:" The Kinetoscope was not perfected in time for the big show. " Hendricks, however, refers to accounts in Scientific American of July 21 and October 21, 1893, which gives a no less "conclusive" that a Kinetoscope did get to the show. The weight of the evidence supports Hendricks, as the historian Stanley Appelbaum fair, "Doubt has been cast on the reports of [the] presence Real Kinetoscope at the fair, but these reports are numerous and circumstantial "(Appelbaum made a mistake in saying that the device was" first shown at the Exhibition ").
The first U.S. copyright Identification for a film was given to Edison by Fred Ott sneezing.
Work continued, albeit slowly, Kinetoscope in the project. On 6 October, a U.S. author was sent to a publication "" received by the Library of Congress is "Edison Records Kinetoscopic. It is not clear why this film was awarded, the author of films for the first time in North America. By the turn of the year, the project would Kinetoscope reinvigorated. During the first week of January 1894, a five-second film starring Edison technician was shot in the Black Maria, sneezing Fred Ott, as it is now widely known, was made expressly to produce a sequence of images for an article in Harper's magazine. Never intended for exhibition, would become one of the most famous films and Edison's first film to receive an author identification in the U.S.. Three months later, the Kinetoscope is a momentous moment arrived.
On April 14, 1894, a public hall was opened by Kinetoscope Holland Bros. in New York at 1155 Broadway, at the corner of 27 Streeth first commercial motion picture house. The venue had ten machines, set up in parallel rows of five, each showing a different film. For 25 cents dollar per viewer could see all the films in the lines, half a dollar gave access to the entire bill. The machines were purchased from the new Company Kinetoscope, who had contracted with Edison for its production company, headed by Norman C. Raff and Frank R. Gammon includes among its investors, Andrew M. Netherlands one of the brothers business, and the head of Edison's former business, Alfred O. Tate. The ten films that make up the first commercial program of film, all shot in Black Maria, the descriptively titled: Barber Shop, Bertoldi (Mouth Support) (Ena Bertoldi, a British vaudeville contortionist), Bertoldi (contortion table), Herreros, Roosters (in some form of cock fighting), Highland Dance, Hardware, Sandow (Eugen Sandow, a strong man of Germany), Trapeze, and wrestling. As historian Charles Musser describes a profound "transformation of life and culture of performance" had begun.
A San Francisco Kinetoscope parlor, ca. 189 495.
Twenty-five cents for no more than a few minutes of entertainment was just cheap fun. For the same amount, you could buy a ticket to a theater vaudeville important when first amusement park in the United States opened at Coney Island the following year, a fee of 25 cents cover admission to three rides, a performing sea lion show and a dance hall. The Kinetoscope was an immediate success, however, and on 1 June, the Hollands are also places operating in Chicago and San Francisco. Employers (including Raff and Gammon, with its own new International Co.) were soon running temporary exhibitions and places Kinetoscope around the United States. The new companies joined the Kinetoscope Company in the implementation and marketing of machines. The exhibition spaces Kinetoscope were largely, though not uniformly and profitable. After fifty weeks in operation, the New Hollands' Hall of New York has generated approximately $ 1,400 monthly income has an estimated $ 515 in monthly operating expenses, income from headquarters in Chicago (located in a Masonic temple) were substantially lower, about $ 700 a month, though presumably operating costs were lower as well. For each machine, Edison companies Initially generally charged $ 250 for the Kinetoscope Company and other distributors who use them in their own showrooms or sold to exhibitors independent, individual films were initially Edison price at $ 10. During the first eleven months of the marketing Kinetoscope, elements of machine sales vision, movies and auxiliary generated a gain of more than $ 85,000 for the Edison company.
One of the new companies to enter the field was the Kinetoscope Exhibition Company, the partners, brothers Otway and Grey Latham, Otway's friend Enoch Rector, and his employer, Samuel J. Tilden Jr., tried to combine the popularity the Kinetoscope with boxing. This led to a series of major events in the movie field: The Kinetograph was then able to fire only one (negative 50-feet Evidence suggests 48 feet long the longest length was applied). At 16 frames per foot, this meant a maximum operating time of 20 seconds at 40 frames per second (Fps), the rate most often used with the camera. A rate of 30 frames per second which was used as early as 1891, a movie could run for almost 27 seconds. Sandow Hendricks identified as having been shot at 16 fps, as well as the Library of Congress online catalog, which shows the duration of 40 seconds. Even slower rates, the runtime has not been sufficient to accommodate a satisfactory exchange of punches, 16 fps, so that there been designed to give too Herky-jerky visual effects for the enjoyment of sport. The Kinetoscope Kinetograph and modified, possibly with the assistance of the Rector, and could therefore handle film strips three times longer than had been previously used.
Leonardushing The June 1894 battle. Each of the six rounds a minute recorded by the Kinetograph made available to exhibitors at $ 22.50. Customers who watched the final round score was a drop Leonard.
On June 14, a party with short rounds was carried out between the boxers Michael Leonard and Jack Cushing at the Black Maria. seven hundred and fifty feet and a value of images, or even more were shot in the rate of 30 fpsasily the longest film to date. In August 1894, the film premiered at the Exhibition Hall Kinetoscope Company 83 Nassau Street, New York. A half dozen extended Kinetoscope machines each featured a different fight for a dime, ie, sixty cents to see the full match. By tracking a planned series of struggles (of which the result of at least the first was fixed), the famous heavyweight signed James Lathams J. Corbett, saying that your image could not be registered by any other companyhe Kinetoscope first contract star.
Only three months after the commercial debut of the film was the first recorded case of film censorship. The film in question showed a performance by the Spanish dancer Carmencita, a music hall star New York since the beginning of the decade. According to a description of their live act, "an intense sexuality communicated through the footlights that led male reporters to write long, exuberant column on their performance "rticles later reproduced in the catalog Edison films. The Kinetoscope movie of her dancing, shot in the Black Maria in mid-March 1894, was playing in the New Jersey resort town of Asbury Park in the summer. The city's founder, James A. Bradley, a real estate developer and major members of the Methodist community, has been elected a state senator: "The Newark Evening News of July 17, 1894 reported that [Senator] Bradley ... I was so shocked by the sight of Carmencita's ankles and lace that he complained to Mayor Ten Broeck. The showman was then ordered to withdraw the film of the crime, which replaces boxing cats. "The following month, a display of San Francisco was arrested Kinetoscope operation by a "supposed to be indecent." The group, whose discontent led to the arrest was the Pacific Society for the Suppression of Vice, whose aims include "illegal literature, obscene pictures and books, the sale of morphine, cocaine, opium and snuff to minors liquor, lottery tickets, etc, "and we proudly took credit for having" caused 70 arrests and obtained 48 convictions "in the space of the last two months.
Advertising Kinetoscope announces the opening statement in London, on October 17, 1894.
The Kinetoscope was also gaining notice on the other side of the Atlantic. In the summer of 1894, it was shown at 20, boulevard Poissonnire Paris, which was one of the main inspirations Lumire brothers, who would go on to develop projection system first commercially successful film. On October 17, 1894, the first Kinetoscope parlor outside the United States opened in London. Diffusion system proceeded rapidly in Europe, as Edison had revoked its patent protection abroad. The most likely reason was the reliance on technology on a variety of foreign innovations and the belief that as a result of patent applications would have little chance of success. An alternative view, however, used to be popular: The 1971 edition of the Britannica Encyclopdia, for example, argues that Edison "apparently thought so little of his invention could not afford the $ 150 which had been granted a copyright International [sic]. "As recently as 2004, Andrew Rausch said Edison" resisted a cost of $ 150 for patents abroad "and" saw little commercial value in the Kinetoscope. "Given that Edison, as a businessman and inventor, spent approximately $ 24,000 for the system development and went so far as to build a facility specifically for movie making before U.S. Patent was awarded, Rausch interpretation is not widely shared by scholars today. Whatever the cause, two Greek businessmen, George Georgiades Tragides and George, took advantage of the opening. It works successfully for a couple of cinemas in London with Edison Kinetoscope, commissioned English inventor and manufacturer of Robert W. Paul to make copies of them. After to comply with the contract Georgiadesragides, Paul decided to enter the movie business itself, proceeding to make dozens of new plays Kinetoscope. Paul's work would a number of important innovations in camera and imaging technology. Meanwhile, plans were moving in the Black Maria realizing the goal of Edison Theater an image together with sound.
Kinetophone
The 1895 version of Kinetophone in use, showing the headphones that carry the phonograph cylinder into Cabinet
The Kinetophone (aka Phonokinetoscope) was an early attempt at Edison and Dickson to create a movie sound system. Reports indicate that in July 1893 a Kinetoscope accompanied by a phonograph cylinder was presented at the Chicago World's Fair. The film became known first as a test was filmed Kinetophone New Jersey Edison studio in late 1894 or early 1895, now called Dickson Experimental Sound Film, which is the only film with sound recorded live made for the Kinetophone. In March 1895, Edison offers the device for sale, not involving technological innovation, which was a modification Kinetoscope cabinet included a cylinder phonograph accompaniment. Kinetoscope owners also offered kits to retrofit their equipment. The first exhibition seem Kinetophone have taken place in April. Despite a Library of Congress educational website states: "The image and sound became somewhat synchronous by connecting the two with a belt ", this is incorrect. As historian David Robinson describes," The Kinetophone ... made no attempt to synchronize. The audience listened through tubes to a phonograph concealed in the cabinet and the interpretation of some appropriate music or other sound. "The historian Douglas Gomery is of agreement, "[Edison] did not try to synchronize sound and image." Leading the production sound mixer Mark Ulano writes: "[O] nly 45 Kinetophone were made. They did not play synchronously other than the phonograph on when it looks and goes off when it stopped. "Although the test of survival involves sound Dickson recorded live, no doubt, and probably all, of the films marketed for Kinetophone were shot as silent movies, especially the themes running or dancing; exhibitors could choose from a variety of musical bottles offering paced game. For example, three different cylinders with orchestral accompaniment were proposed as Carmencita "Santiago Valse," "La Paloma" and "Alma-Danza Spagnola."
Although Edison continued his dream of obtaining popularity of the Kinetoscope, the sound adding to its charm, many in the field began to suspect that the film projection was the next step to be pursued. When Norman Raff reported the interest of his client in a system of Edison, the great inventor summarily rejected the idea:
No, if we make this screen machine that you are asking that spoil everything. We are making these peep show machines and selling many of them with a good profit. If we put a screen machine there will be a use for maybe about ten of them throughout the United States. With that many screen machines that can display images everyone in the countrynd then it will be. We must not kill the goose that lays the golden eggs.
Under continued pressure from Raff, Edison finally conceded to investigate the possibility of developing a projection system. The sent one of his lab technicians to the Kinetoscope Company starting work without informing Dickson. Dickson latest discovery of this movement seems to have been one of the main factors leading to his break with Edison that occurred in the spring of 1895.
Projection Kinetoscopes
As shown in this announcement of the first decade of the 1900s, years before developing the compact Projection Home Kinetoscope, Edison sells a theatrical essence Kinetoscope 35mm projection for domestic use.
During 1895, it became clear that the Kinetoscope would lose out on one end to the films and, secondly, to a peep show new "device" the cheap, flip-book based on Mutoscope. In its second year of marketing, the benefits of the Kinetoscope operation fell more than 95 percent to just over $ 4,000. The Latham brothers and his father, Woodville, had retained the services of former Edison employee Eugene Lauste and then, in April 1895, Dickson same for develop a film projection system. On May 20 in New York, the new Eidoloscope was used for the first commercial screening of a film, four minutes of pugilism between Young Griffo and Charles Barnett. European inventors, notably the brothers Lumire Skladanowsky and Germany were moving forward with similar systems.
In early 1896, Edison had turned his attention to the promotion of a projection technology, the Phantoscope, developed by young inventor Charles Francis Jenkins and Thomas Armat. The rights in the system had been acquired by Raff and Gammon, which redubbed it the Edison Vitascope and arranged to present himself as its creator. With Dickson have left their jobs, Kinetophone Edison is rapidly inactivated and suspended work in film sound for a long time. Based on the operation Vitascope After just over a year Edison commissioned the development of its own projection systems, the Projectoscope and after multiple iterations of the projection Kinetoscope. In 1912, he introduced the ambitious and costly Projection Home Kinetoscope, which employed three parallel strips of 22 mm film. Four years later, the operation Edison came out with its latest major exhibition of the new technology of cinema, a short-lived theater system called the Super Kinetoscope. Much more work creative Edison's company in the field of cinema in 1897 affected their use of related patents the Kinetoscope in threatened or actual lawsuits to pressure financially or blocking of its commercial rivals.
Imaging of a Kinetoscope published in 1914.
As early as the days Vitascope, some exhibitors screened films accompanied by appropriate playing phonograph, although roughly by time, sound effects, in the style of the Kinetophone described above, rhythmically matching records were available for subjects up and dance. While Edison supervised the experiments sound superficial film after the success The Great Train Robbery (1903) and other products of the manufacturing company Edison, it was not until 1908 that returned seriously the notion that he had combined audiovisual taken first to enter the field of cinema. Edison patented a synchronization system to connect a projector and the phonograph one, located behind the screen, through a set of three vertical struts down of each device, along with third horizontally throughout the theater, under the floor. Two years later, he oversaw a demonstration of the press in the laboratory of a movie sound system or design this later. In 1913, Edison introduced new every last Kinetophoneike their systems sound exposure from the first film in the mid-1890s, he used a phonograph cylinder, and connected to a projection of Kinetoscope Using a tape lineype fishing and a series of metal pulleys. While met with great success in the short term, poorly trained operators had maintenance problems based in synchronization with sound and, like other movie sound systems of the time, the Kinetophone not solved the problems of insufficient amplification audio quality and unpleasant. Its convening power as a novelty and soon vanished when a fire Edison in West Orange in the complex in December 1914 destroyed the entire Kinetophone company image and sound masters, the system was abandoned.
See also
Film history
List of film formats
Motion Picture Patents Company
William Friese-Greene
Notes
↑ See Hendricks (1961), pp. 1112, to support the description of Muybridge, in particular the reference to statements of Edison that appeared in the New York World, June 3, 1888.
↑ Quoted in Robinson (1997), which gives the date of filing October 17 (p. 23). Braun (1992) reported as October 8 (p. 188).
^ Musser (2004), p. 63.
Edison ↑ History Films: Part Kinetoscope Library of Congress website / Inventing Entertainment educational. Retrieved on 10/22/06.
^ Braun (1992), pp. 188, 404 n. 44.
^ Rossell (1998), pp. 6364, Braun (1992), pp. 189, 404 n. 47. Robinson (1997) said that the lab sheets Carbutt ordered the June 25, 1889, and is "sold in 20" x 50 "size. (P. 27). Spehr (2000) says (a) the laboratory received by that date, (b) have been "11 by 14" inches in size (A figure that Braun, op. Cit., Agree), (c) the chips from another supplier, Allen & Rowell, came on the same date, and (d) record from another source was received in May. Carbutt It leaves, as reported by Spehr memories of Dickson, were used in the experiments of the cylinder (p. 23 n. 22).
^ Also is a question of what Edison employee appears in the film. If the above date is correct, John Ott in the latter case, G. Sacco Albanese. View Edison: Inventing Movies introduction antics, No. 1 for the Kino Video DVD release.
^ Dickson (1907), part 2.
^ Robinson (1997) gives August 2 (P. 27). Hendricks (1961) gives August 3 (p. 48).
^ Baldwin (2001), pp. 208 209. Baldwin described the encounter as taking place in mid-September (page 209), Burns (1998) says it was in August (p. 73). See also Braun (1992), p. 189.
^ Musser (1994), p. 66; Spehr (2000), p. 8.
^ Rossell (1998), p. 21 test miles biographical Carlos Reynaud Stephen Herbert, part of the Who's Who of Film Victoria website. Retrieved on 10/23/06.
^ Braun (1992), p. 189.
^ Burns (1998) states that "in a patent dated May 20, 1889 Edison and Dickson used the same general scheme [As Anschtz] continually movement and light flashes on your viewing device, the Kinetoscope "(p. 73). It is evident that dates back to Burns is extremely wrong and probably purchased the May 20 date from the first public demonstration of the Kinetoscope in 1891.
^ Spehr (2000), pp. 7, 23 n. 2122.
^ Braun (1992) p. 155.
^ Robinson (1997), p. 29; Spehr (2000), pp. 78, 23 n. 24.
^ Robinson (1997), 28.
^ For discussion and photographic evidence a row of holes: Robinson (1997), p. 31.
Ab ^ Robinson (1997), p. 34.
^ Gosser (1977), pp. 206 207, Dickson (1907), Part 3.
Note ^ note that some sources seem to refer to variously as métier Moore Annabelle serpentine dance and dance of the butterfly. In fact, a 1894 order of a living Kinetoscope London shows that Moore had already performed at least three different dances of Edison, the end of the lists of Sun Dance Anna Belle, Anna Belle Dance serpentine, and Anna Belle Butterfly Dance. Some authors apparently confusing the dance of the butterfly and serpentine vice versa, in addition, there may be several versions of one or more of the dance, shot at different times. See Hendricks (1966), pp. 112, 135 136, illustrations 13, 15. The identification of the current image of Butterfly Dance is based on its origin, The Henry Ford, which gives an identification number of the image. This source, which dates from the picture is less true in 1895, Moore played for Edison this year, but the original Butterfly Dance took place in 1894.
↑ Quoted in Robertson (2001), p. 5.
^ Edison (1891st), p. [P. 1333 in Light and Movement], Edison (1891b) p. [P. 1339 in Light and Movement], Hendricks (1961), p. 130.
^ Edison (1891st), p. [P. 1333 in Light and Movement].
^ Dickson greeting; athlete Newark. Excerpt 1 Newark athlete. Fragment 2; boxing men. Part of the Library of Congress / Inventing Entertainment website. Retrieved on 12/14/06. The paper makes reference to Charles Musser's Edison Motion Pictures, 18901900: An Annotated Filmography (Washington, DC: Smithsonian Institution Press, 1998).
^ Edison (1891b), pp. 23 Figure 4 [pp. 340 341, 345 in Light and Movement].
^ Spehr (2000), p. 13.
^ Spehr (2000), pp. 1114. The manufacturer sent filmstock actually was 1 9 / 16 inches wide, was cut and drilled in the laboratory. Reports that Eastman and Blair is always 70 mm of values that are cut in half and splice in the laboratory are incorrect. A recent book makes this erroneous statement (along with other descriptions of the origin of evil Kinetoscopio development) is A. Michael Noll principles of modern communications Technology (Boston and London: Artech House, 2001, p. 88). Braun (1992) makes the same mistake (p. 190). See Spehr (2000), pp. 78, 12, for details on the width Film supplied by Eastman Edison.
^ Musser (1994), p. 72.
↑ Quoted in Hendricks (1966), p. 14. See page 11 for a description Hendricks direct examinations.
^ Edison (1891b), diagrams 1, 2 [pp. 342, 343 in Light and Movement]. Diagram 1, an aerial view of the apparatus looking down in the filmstrip running horizontally, it also indicates that the shot passes over the filmhether directly on it or the lens is unclear. A diagram session [p. Light and Motion 345] shows Edison proposed stereoscopic film projection system: here the shutter is finally placed between the projection lens and display, in an alternative configuration, represented in a diagram of insertion, the shutter can be run through "a cut in the body of the lens" on itself (p. 2 [p. 340 in Light and Movement]). A simplified version of Edison (1891b), schema diagram 1acking two key numbers and patent application datas available online as part of the Who's Who in the Film Victoria website. The large dotted circle represents the shutter.
^ Hendricks (1966), illustration 2. Patent Dülken historian Stephen van (2004) seems to err twice, describing a shot with "cracks" found between the lens and the eyepiece (p. 64).
^ Robinson (1997) argues that deceptively "Patents of the camera and the Kinetoscope viewer Kinetograph were finally issued" in early 1893 (p. 38). Braun (1992) explains, "except for the device used to stop and start moving film, which obtained a patent in 1893, all parts of the application that describes the camera finally claims were rejected because of previous inventors "(p. 191). Hendricks (1961) describes the outcome of the patent for a similar camera Braun (pp. 136.137). The facts in brief are: (a) a patent only intermittent motion devices was published in February 1893, (b) all other elements of the original patent applications Kinetograph be successfully challenged, and (c) a patent, number 589,168, for a complete camera Kinetograph, a substantial different from that described in the original application was published on August 31, 1897. See Spehr (2000), p. 18; Dülken Van (2004), p. 64; Musser (1994) p. 239; Hendricks (1961), pp. 133 134; part Kinetograph Patent Diagram the Who's Who in the Film Victoria website. Retrieved on 10/29/06. (Note that van Dülken ago describe a total botch and Kinetograph patents the Kinetoscope in its history in early Inventing the 19th century: 100 inventions that shaped the Victorian era of aspirin for Zeppelin [New York: New York University Press, 2001, p. 126].)
^ Sal (1992), p. 32. As the salt described, subsequently, after Kinetoscope models Edison camera incorporated the Maltese cross.
^ Edison (1891b), p. [P. 1339 in the Light and] Movement; Mnsterberg (2004), p. 7, Robinson (1997), pp. 3839, 5455; Musser (1994), p. 93 Hendricks (1961), pp. 127 133. Note that at one point mistakenly Robinson gives the date of issuance of patents on 04 March (p. 38), although it is said correctly on the next page (p. 39). Interestingly, Hendricks almost exactly the same proper thingiving March 14 (p. 127), the March 4 incorrect (p. 133). The correct date of March 14 can be verified by reference to the patent document, see also Frank Lewis Dyer and Thomas Commerford Martin, Edison, His Life and Inventions (Boston and London: Kessinger, 2004), p. 370.
↑ Quoted in Baldwin (2001), pp. 232, 233.
^ An unsolved mystery concerns the length of the film. The entry into IMDb.com clearly wrong as 1 minute. Baldwin (2001), "thirty seconds" (p. 238), the figure also reported by the magazine Scientific American at the time (See Hendricks, p. 38). Musser (2004) said "fifteen seconds" (p. 16). A copy of the movie made available by the Edison National Historic Site takes about 34 seconds, all shot from a camera position, without the existence of apparent connections. As described later in the text main focus of this article, at this point in the development of the Kinetoscope Kinetograph and according to most accounts of the maximum length of any movie made with the system was 50 feet, meaning a maximum of 50 seconds at lowest speed recorded on the camera, but only about 20 seconds to most common speed of the camera of 40 frames per second (see Hendricks, pp. 68). As reports Hendricks, the film strip was probably not 50 feet, or 800 tables, long, Edison described it as containing "some 700 images" (p. 36). To complicate matters further, Braun (1992) ho obviously believes that the speed was faster than the first Kinetoscope films usedays could last 40 seconds instead of 20, because the film is configured as a loop (P. 191). Issues relating to the duration of Herrera scene apparently never been addressed directly by any other authority in the field from Hendricks.
^ Hendricks (1966), pp. 2833. Given the dates of departure and return Dickson provides Hendricks, Dickson had gone for at least 80 days. Hendricks described him as taking a "ten weeks of rest" (p. 28) or spending "about ten and a half weeks in the south" (p. 33), a plausible interpretation given the travel time from New Jersey to Florida, Dickson in the head. There was also apparently alcohol problemsllegedly fueledith laboratory employee, James Egan, who had been contracted to build the Kinetoscope. See Hendricks (1966), pp. 3435, 4950.
^ Robinson (p. 40).
Ab ^ Hendricks (1966), p. 41.
^ Appelbaum (1980) p. 47. See Hendricks (1966), pp. 4045, for other reports.
^ Hendricks (1966), pp. 47, 71.
^ The machines have been modified so that they are not nickel in the slot. According to Hendricks (1966), in each row 'assistants switching instruments on and off for customers who had paid their twenty-five cents "(p. 13). For more information about the Hollands, see Peter Morris, beleaguered Shadows: A History of Canadian Cinema, 18,951,939 (Montreal and Kingston, Canada, London and Buffalo, New York: Press McGill-Queen's University, 1978) pp. 67. Morris says that the Edison Kinetoscope wholesale at $ 200 per machine, Indeed, as described below, $ 250 seems to have been the most common figure at first.
^ Hendricks (1966), pp. 56, 60, Musser (1994), p. 81, Ena Bertoldi (María Beatriz Claxton) biographical essay by Anthony Barry McKernan / Lucas, Who's Who of the Film Victoria website, Eugen Sandow (Frederick Muller) biographical essay by Richard Brown, part of the Who's Who of Film Victoria website. Both retrieved 10/24/06.
^ Musser (2002), p. 21.
Grieveson ^ Y Krmer (2004), p. 34, Cross and Walton (2005), p. 39.
^ Financial analysis based on Musser (1994), p. 81.
^ Hendricks (1966), pp. 13, 56, 59.
^ For earnings of April 1, 1894, through February 28, 1895, see Musser (1994), p. 84.
^ Hendricks (1966), p. 15.
^ Hendricks (1966) pp. 68; Musser (1994), p. 78. Hendricks, who tested Kinetoscope eighteen films in his personal collection, showed that "[e] n any case, the camera Mary operate as high as 4648 frames per second ", as some suggest (p. 6) identifying the type" average "(so, not to say) as" 3840 frames per second "(p. 7). Multiple sources incorrectly claiming 46 fps as the type of standard practices can be argued, Burns (1998), for example, describes a type of image "of 46 frames per second [that] restricted viewing time to about 15 seconds" (p. 74). Dickson later gave different accounts raten camera on one occasion said he was "40 and the second" in another, which was between 25 and 46 fps. According to his account of 1907, the rate was 46 fpshough in point issues are most confused by what appears to be an unwanted suggestion of a functional type of 42 fps (part 3). The Library of Congress / Inventing Entertainment page Site offers online video copies of many films Kinetoscope, including four shots with 35 mm Kinetograph between January and March 1894. The library provides descriptions of films, including time of operation and type of photo, also from 1998 Musser Edison Motion Pictures (all retrieved 10/29/06)
Edison kinetoscopic record of a sneeze (also known as Fred Ott sneeze): ca filmed. January 27, 1894, 5 seconds at 16 fps
Athlete with wand: filmed in February 1894, 37 seconds 16 fps
Sandow (one of these four films to be shown on the commercial release April 14): filmed March 6, 1894, 40 seconds at 16 fps
Carmencita: ca filmed. March 1016, 1894, 21 seconds at 30 fps
As noted, Hendricks (1966) gives the same speed of Sandow. However, both lists Fred Ott sneezing and Carmencita 40 fps (not discussed "Athlete with wand") (p. 7). The Library of Congress catalog is compatible with the assertion that no film Hendricks Kinetoscope was shot at 46 fps.
^ Ramsay (1986) reports that the director was essential for the modification process (Chapter 8), but no other source confirms this. See also Hendricks (1966), pp. 90, 99 100.
^ Leonardushing party control of the Library of Congress / Inventing Entertainment educational website. Retrieved on 12/14/06.
Chamber of speed ^ Hendricks (1966), p. 7; Musser (1994), p. 82, part Leonard-Cushing struggle Entertainment Library of Congress / Inventing website. Retrieved on 12/14/06. Hendricks cites two published reports describing the time rate of 46 fps (pp. 92, 95), which seems clearly erroneous, based on the camera potential mechanical rather than its practical application. Mistakenly, Hendricks refers in his description of the movie "flying through the door frames of chamber at a rate of 40 per second "(p. 96). The daily accounts of both the State and 150 feet of film were shot of each round, a total of 900 feet. Hendricks makes a detailed case that instead of 150 meters, each round was likely recorded in 126 feet of exposed film worth (p. 96). The Edison films catalog, however, has the claim of 150 feet for each round. View fight Leonardushing part of the Library of Congress / Inventing Entertainment educational website. Retrieved on 12/14/06.
^ There is much disagreement about the success of the film. In (1986) Ramsaye the bill, "including the Crowds [Kinetoscope Latham] room and the second day of long lines of customers waiting lost again in the street. The police came to keep order "(Chapter 8). According to Hendricks (1966) Latham room "apparently never flourished. Rector police squad of 'maintaining order' was or Rector or hyperbole Ramsaye .... There is little that the question ... relative obscurity of the wrestlers ... contributed to the lack of success "(pp. 9899). No contemporary author references a source of support for your version.
^ Ramsay (1986), chap. 89; Musser (1994), pp. 8284; Leonardushing struggle. Retrieved on 10/27/06.
^ Musser (2004), p. 22.
^ Karcher (1998) pp. 39, 82, 9293.
^ Robinson (1996), p. 349. For an extended excerpt from the article, see Hendricks (1966), pp. 7778.
↑ Quoted in Hendricks (1966), p. 78.
^ Musser (1994), p. 78; Jenness (1894), p. 47. Hendricks (1966) states that the secretary of the arrest was made (p. 78).
^ Schwartz (1999), p. 183. Burns (1998) said that the exhibition took place in August (p. 73); Grieveson and Krmer (2004) say it was September (p. 12).
^ Musser (1994), p. 82.
^ Griffith and Reed (1971), p. 900.
^ Rausch (2004), p. 8.
^ For the cost of development of the Kinetoscope in: Millard (1990), p. 148; Spehr (2000), p. 7. For a discussion of Edison's decision not to pursue European patents, see, for example, Braun (1992), pp. 190 191.
^ Rossell (1998), pp. 9194.
^ Robinson (1997), p. 51; Musser (1994), p. 87.
^ Edison: The Marriage of sight and the sound of the Library of Congress website / Inventing Entertainment educational. Retrieved on 10/22/06.
^ Robinson (1997), p. 51; Gomery (1985), p. 54, "Movies are a child is born Phonograph "by Mark Ulano, CAS, part of the website FilmSound.org. Retrieved 10/22/06. See also Hendricks (1966), pp. 4850, 118 125; Millard (1990), p. 169.
^ Altman (2004), pp. 8183, Hendricks (1966), pp. 124 125.
^ Practical Guida (189 596), p. [P. 126 348 in Light and Movement].
↑ Quoted in Ramsay (1986), chap. 9.
^ Ramsay (1986), chap. 9.
^ Musser (1994), p. 84.
^ Ramsay (1986), chap. 910; Musser (1994) pp. 9293. There is an old complaint that a Acm Jean LeRoy films in New York for an invited audience in February 1894 and to pay customers in New Jersey February 1895. See Gosser (1977) for a discussion of the dubious nature of these claims (pp. 228.229).
^ Musser (2002), pp. 1314.
↑ See, for example, Gunning (1994), pp. 6165, 143 144; Musser (1994), pp. 239, 240, 254, 272, 290, 292, etc.
^ Musser (1994), p. 178 and Altman (2004), pp. 8990.
^ Hendricks (1966), p. 123.
^ Millard (1990), p. 226. Rausch (2004) claims a specific invention is vital in this process: "In 1908, Edison returned with a device known as the Cinemaphone. This device adjusts the speed of a film to match that of a phonograph. This led to the Kinetophone ...." (P. 78). Nor any of the standard biographies of Edison or any of the major stories of the early sound film Cinemaphone mention this. " Gomery (2005) indicate how, "to correct synchronization errors Edison inserted disc set" in the 1913 version of the Kinetophone (p. 28). Gomery not the name of this device and in no way suggests that it was created in 1908.
^ Gomery (2005), pp. 2728.
^ Altman (2004), pp. 175 178; Gomery (1985), pp. 5455; Gomery (2005), pp. 2829.
Sources
Altman, Rick (2004). Silent Film Sound. New York: Columbia University Press. ISBN 0-231-11662-4
Appelbaum, Stanley (1980). The Chicago World's Fair of 1893: a photographic record. New York: Dover. ISBN 0-486-23990-X
Baldwin, Neil (2001). Edison: The Invention of the century. Chicago: University of Chicago Press. ISBN 0-226-03571-9
Braun, Marta (1992). Imagine Time: The Work of Etienne-Jules Marey (18,301,904). Chicago: University of Chicago Press. ISBN 0-226-07173-1
Burns, Richard W. (1998). Television: An International History of the formative years. London: Institution of Electrical Engineers. ISBN 0-85296-914-7
Cruz, S. Gary, and John K. Walton (2005). The crowd Playful: Pleasure Places in the Twentieth Century. New York: Columbia University Press. ISBN 0-231-12724-3
WKL Dickson (1907). "Edison's experiments Kinematograph" in a silent film history, vol. 1 (2000), ed. Stephen Herbert. London and New York: Routledge. ISBN 0-415-21152-2
Edison, Thomas A. (1891st). "Kinetographic Camera" (U.S. patent application no. 403 534, witnesses and signed July 31, 1891, filed August 24 1891) in Mannoni et al., Light and Movement, np
Edison, Thomas A. (1891b). "The devices for the exhibition of photographs of moving objects" (application U.S. patent no. 403 536, witnesses and signed July 31, 1891, filed August 24, 1891), in Mannoni et al., Light and Movement, np
Gomery, Douglas (1985). "The Arrival of Sound: Technological Change in the American film industry ", in Technology and Culturehe Film Reader (2005), ed. Utterson Andrés, pp. 5367. Oxford and New York: Routledge / Taylor & Francis. ISBN 0-415-31984-6
Gomery, Douglas (2005). The arrival of sound: a history. New York and Oxon, UK: Routledge. ISBN 0-415-96900-X
Gosser, Mark H. (1977). Selected Attempts at Stereoscopic Moving Pictures and its relation to the development of technology Motion Picture, 18,521,903. New York: Arno Press. ISBN 0-405-09890-1
Grieveson, Lee and Peter Krmer, eds. (2004). The reader of silent films. London and New York: Routledge. ISBN 0-415-25283-0
Griffith, Richard and Stanley William Reed (1971). "Motion Pictures" in Encyclopdia Britannica, 15th ed, vol. 15, pp. 898 918. Chicago et al.: Encyclopdia Britannica. ISBN 0-85229-151-5
Guida per l'practical use ... the Edison Kinetoscope (na; 189 596). Milan: Edit dall '"Elettricit." Pages selected Mannoni et al., Light and Movement, na
Gunning, Tom (1994). DW Griffith and the Origins of American cinema Narrative: The early years at Biograph. Urbana and Chicago: University of Illinois. ISBN 0-252-06366-X
Hendricks, Gordon (1961). Edison Motion Picture Myth. Berkeley and Los Angeles: University of California Press. Reproduced in Hendricks, Gordon (1972). Origins of American Film. New York: Arno Press / New York Times. ISBN 0-405-03919-0
Hendricks, Gordon (1966). The Kinetoscope: America's First Motion Picture Exhibitor commercial success. New York: Theodore Gaus Sons. Reprinted in Hendricks, Origins of American Film.
Jenness, Charles Kelley (1894). Charity of San Francisco: Agencies Directory of Charities and Corrections. San Francisco: Print Book Room / Stanford University.
Karcher, Alan J. (1998). Multiple New Jersey Municipal Madness. New Brunswick, New Jersey and London: University Press of Rutgers. ISBN 0-8135-2565-9
Mannoni, Laurent, Donata Pesenti Campagnoni, David Robinson (1996). Light and Movement: Incunabula of the film, and movement 14201896/Luce: Incunaboli dell'immagine animat, 14,201,896. London: BFI Publishing / Le Giornate del Cinema Muto, Cinmathque franaiseuse du Cinma, Museo Nazionale del Cinema. ISBN 88-86155-05-0
Millard, Andre (1990). Edison and the business of innovation. Baltimore: Johns Hopkins University Press. ISBN 0-8018-3306-X
Mnsterberg, Hugo (2004). The Film: a psychological study. Mineola, New York: Dover. ISBN 0-486-43386-2
Musser, Charles (1994). The emergence of cinema: the American screen to 1907. Berkeley, Los Angeles and London: University of California Press. ISBN 0-520-08533-7
Musser, Charles (2002). "Cinema, Introduction to American Public: The Vitascope in the United States, 18 967," go to the cinema in the United States: History Book the International Film Festival, ed. Gregory Waller, pp. 1326. Maiden, Massachusetts, and Oxford: Blackwell (available online). ISBN 0-631-22591-9
Musser, Charles (2004). "In the Beginning: Film Production, Representation and Ideology in the Edison and Business Lumire" in Grieveson and Krmer, silent film reader, pp. 1528.
Ramsay, Terry (1986). Nights of a million and one: A history of Through the film 1925. New York: Touchstone (810 episodes available online; part of the adventures in CyberSound website). ISBN 0-671-62404-0
Rausch, Andrew J. (2004). Turning points in film history. New York: Citadel Press. ISBN 0-8065-2592-4
Robertson, Patrick (2001). Film data. New York: Billboard Books. ISBN 0-8230-7943-0
Robinson, David (1996). "[Carmencita description]" in Mannoni et al., Light and Movement, np
Robinson, David (1997). From Peepshow to Palace: The Birth of American film. New York and Chichester, West Sussex: Columbia University Press. ISBN 0-231-10338-7
Rossell, Deac (1998). Photos of life: the origins of cinema. Albany: State University of New York Press. ISBN 0-7914-3767-1
Salt, Barry (1992). Film Style and Technology: History and Analysis. London: Starword. ISBN 0-9509066-0-3
Schwartz, Vanessa R. (1999). Spectacular reality: The first mass culture in Fin-de-sicle Paris. Berkeley, Los Angeles and London: University of California Press. ISBN 0-520-22168-0
Spehr, Paul C. (2000). "Unchanged until Date: Developing 35mm Film, "in Moving Images: From Edison to the webcam, ed. Sderbergh Widding John Fullerton and Astrid, pp. 328. Sydney: John Libbey & Co. ISBN 1-86462-054-4
Dülken Van, Stephen (2004). American Inventions: A History of useful patents curious, extraordinary, and simple. New York: New York University Press. ISBN 0-8147-8813-0
External Links
Kinetoscope related media on Wikimedia Commons
Team movie Edison Chronology Professor Hall of the Silent Film Website
Machinery survey shows early film equipment, part of the Who's Who of Film Victoria website
"Motion Pictures ", chap. 21 Edison, His Life and Inventions (1910), Frank Lewis Dyer (Edison lawyer) and Thomas Commerford Martin (AIEE former president)
Technology: Test Kinetoscope with technical analysis system, part of the website EarlyCinema.com
Voice Actor Audition by Frank Lenord Trialinetophone audio file mp3 undated hearing, part of the Gutenberg Project
Trialinetophone Voice Actor Audition by Siegfried Von Schultz mp3 audio file of undated audition; part of Project Gutenberg
Kinetoscope films
Edison National Historic Site: Blacksmith Scene (1893), Sandow (1894), Danza serpentina (ca. 189 495), Edison at Work in Chemistry Laboratory (nd). Note that The Kiss (1896) was not shot for the Kinetoscope, but for the projection Vitascope.
Library of Congress: twenty-five 1891-1895 movies

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