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Three athletes make their way to wicker baskets that contain a mishmash of wacky costumes. They need to dress up as quickly as they can, and make their way back on the running track.
Three athletes make their way to wicker baskets that contain a mishmash of wacky costumes. They need to dress up as quickly as they can, and make their way back on the running track. close
A mother takes her children for a walk, lifts her baby girl out of the buggy and gently sets her down to the ground. She then moves a few steps away and more
A mother takes her children for a walk, lifts her baby girl out of the buggy and gently sets her down to the ground. She then moves a few steps away and calls her name, to demonstrate that her baby can walk. close
R.W. Paul's early footage showing the new Blackfriars Bridge. It had been opened by Queen Victoria in 1869 for both road and rail, and showcases the distinctive Venetian Gothic ironwork.
R.W. Paul's early footage showing the new Blackfriars Bridge. It had been opened by Queen Victoria in 1869 for both road and rail, and showcases the distinctive Venetian Gothic ironwork. close
Four men stand holding what appears to be a blanket, while one wearing a hat stands watching. A sixth man then runs towards them and attempts to jump into the blanket.
Four men stand holding what appears to be a blanket, while one wearing a hat stands watching. A sixth man then runs towards them and attempts to jump into the blanket. close
In the background is a house. In the foreground, a groom holds the reins of a sleek black horse that stands in profile. A tall man, dressed in a black more
In the background is a house. In the foreground, a groom holds the reins of a sleek black horse that stands in profile. A tall man, dressed in a black uniform, demonstrates how to mount the horse then encourages and tries to assist a man in white. The man in white keeps falling, and soon it's apparent that he's an putting on a show. His pratfalls become more elaborate and stylish. The horse stands patient. The little groom laughs to see such sport. And finally, the man in white finds a comic accommodation. The story, though brief, has a beginning, middle, and end. close
While his aide continuously turns the handle of the bellows, keeping hot a small furnace in front of him, a blacksmith is pounding a piece of metal on more
While his aide continuously turns the handle of the bellows, keeping hot a small furnace in front of him, a blacksmith is pounding a piece of metal on an anvil, then plunges the shaft into a tub of water, causing a cloud of vapor in the process. close
In a long, diaphanous skirt, held out by her hands with arms extended, Broadway dancer Annabelle Moore performs. Her dance emphasizes the movement of more
In a long, diaphanous skirt, held out by her hands with arms extended, Broadway dancer Annabelle Moore performs. Her dance emphasizes the movement of the flowing cloth. She moves to her right and left across an unadorned stage. Many of the prints were distributed in hand-tinted color. close
Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first more
Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames. close
[…] by shooting the fish in a globular bowl, the Lumières effectively use a fisheye lens, which offers distortions. The history of cinema has witnessed more
[…] by shooting the fish in a globular bowl, the Lumières effectively use a fisheye lens, which offers distortions. The history of cinema has witnessed a struggle between the objective and subjective camera and the optically distorting lenses like the fisheye lens has been a powerful tool for the subjective camera. Here it is at the start. (from IMDB) close
The first woman to appear in front of an Edison motion picture camera and possibly the first woman to appear in a motion picture within the United States. more
The first woman to appear in front of an Edison motion picture camera and possibly the first woman to appear in a motion picture within the United States. In the film, Carmencita is recorded going through a routine she had been performing at Koster & Bial's in New York since February 1890. close
“Interior of Barber Shop. Man comes in, takes off his coat; sits down, smokes; is handed a paper by attendant, who points out a joke; both laugh. Meantime more
“Interior of Barber Shop. Man comes in, takes off his coat; sits down, smokes; is handed a paper by attendant, who points out a joke; both laugh. Meantime the man in the chair is shaved and has his hair cut. Very funny.” (Edison's Latest Wonders, 1894) close
The earliest surviving celluloid film, and believed second moving picture ever created, was shot by Louis Aimé Augustin Le Prince using the LPCCP Type-1 more
The earliest surviving celluloid film, and believed second moving picture ever created, was shot by Louis Aimé Augustin Le Prince using the LPCCP Type-1 MkII single-lens camera. It was taken in the garden of Oakwood Grange, the Whitley family house in Roundhay, Leeds, West Riding of Yorkshire (UK), possibly on 14 October 1888. It shows Adolphe Le Prince (Le Prince's son), Mrs. Sarah Whitley (Le Prince's mother-in-law), Joseph Whitley and Miss Harriet Hartley walking around in circles, laughing to themselves and keeping within the area framed by the camera. The Roundhay Garden Scene was recorded at 12 frames per second and runs for 2.11 seconds. close
The last remaining film of Le Prince's LPCCP Type-1 MkII single-lens camera is a sequence of frames of his son, Adolphe Le Prince, playing a diatonic more
The last remaining film of Le Prince's LPCCP Type-1 MkII single-lens camera is a sequence of frames of his son, Adolphe Le Prince, playing a diatonic button accordion. It was recorded on the steps of the house of Joseph Whitley, Adolphe's grandfather. close