What Else Was Happening in the Progressive Era?
______________________________________________________
Announcements:
(1) no announcements: advice re: Dunlap, Barbour, Shrader-Frechette, etc.
See Susan Schrepfer’s book, The Fight to Save the Redwoods: A History of Environmental Reform, 1917-1978 (Univ. Wisconsin, 1983)
Schrepfer writes:
“Generalizations about the history of twentieth-century biological sciences are hazardous, yet it is possible to suggest three periods in their development. During the progressive years from the 1890s through the 1920s, most scientists and most Americans subscribed to some directional interpretation of evolution. Either they believed that natural history was progressive . . . or else they advocated some specific theory of orthogenesis. Such assumptions had scientific as well as philosophical and religious origins. The evolutionary sciences not only allowed many Americans to hold their previously conceived view that the universe was ordered, thereby contributing to the intellectual climate of these years” (p. 79).
Precursors to film:
Zoopraxiscope--Edward Muybridge, 1879
“The Zoopraxiscope (pronounced ZOH-uh-PRACKS-uh-scohp), invented by British photographer Eadweard Muybridge and first shown in 1879, was a primitive motion picture device that worked by showing a sequence of still photographs in rapid succession. Muybridge, perhaps best known today for his sequence of photographs of a race horse in motion (which proved for the first time that at top speed all feet leave the ground), studied photography in the early 1860s with daguerrotypist Silas Selleck and later achieved recognition for his photographs of the Yosemite Valley and other scenes of the American Far West. The Zoopraxiscope emerged out of his studies of motion as shown in sequences of still photographs. His 11-volume work, Animal Locomotion, published in 1887, contained over 100,000 photographs. In 1893, he lectured at "Zoopraxigraphical Hall" at the World's Columbian Exposition in Chicago.”
Edison’s "Kinetoscope": from the Greek kineto ("movement") and scopos ("to watch")
David Robinson, in From Peep Show to Palace: The Birth of American Film, says the film "ran horizontally between two spools, at continuous speed. A rapidly moving shutter gave intermittent exposures when the apparatus was used as a camera, and intermittent glimpses of the positive print when it was used as a viewer—when the spectator looked through the same aperture that housed the camera lens."
See Marcus Fischer Mellbin
Black Maria film studio
Annie Oakley, November 1, 1894
The Boxing Cats, July 1894
Kinetoscope parlors
Kinetophone: kinetoscope with phonograph for sound
IV. The Shift to Projectors and the Vitascope (1895-1896)
Eidoloscope and William Kennedy Laurie Dickson
Dickson forms the American Mutoscope Company, December, 1895 : "Mutoscope"
Edison renames and briefly markets the Phantoscope as the Edison “Vitascope”
The Edison Company developed its own projector known as the Projectoscope or Projecting Kinetoscope in November 1896, and abandoned marketing the Vitascope.
“actualities” versus fictional film subjects: scenes of vaudeville performers, famous people, railway trains, scenic places, foreign views, fire and police workers, military exercises, parades, naval scenes, expositions, parades, and sporting events.
Development of mobile film cameras for “on location” filming
See essay at the Library of Congress for more details
1. Surf at Monterey, 1897:
SUMMARY
From Edison films catalog: The water breaks over the rocks, and is dashed into silvery spray, high into the air. Exceptionally fine water effects. 50 feet. 7.50.
Advertised as part of the "Southern Pacific Company Series" (Edison films catalog): “
“The Southern Pacific Company ("Sunset Route") offers special inducements to winter travelers, by reason of its southern route, thereby avoiding the extreme cold of the winter months. Its course lies through a section of the country that presents a variety of beautiful and picturesque natural scenery. It is also the direct route to the popular resorts of Southern California, thereby making it a favorable route for tourists. The following subjects were taken by our artist while traveling over the very extensive lines of the Southern Pacific Railroad Co., to whom we are indebted for many courtesies, and without whose co-operation we should not have been able to bring before the public these animated photographs of interesting and novel scenes (p. 43).”
2. Tourists at Yellowstone, 1899:
Title in Edison films catalog: Coaching party, Yellowstone Park
Filmed ca. July 19-25, 1897, in Yellowstone National Park, Wyoming.
SUMMARY
From Edison films catalog: “Rapidly one after the other coach after coach passes before the camera. First comes a big one, six horses, crowded top and inside with tourists. They wave hats and handkerchiefs as they pass. Then comes another; then follows four more, each drawn by a four-horse team, while ten or a dozen more are strung out far into the distance. This is the Christian Endeavor excursion touring through the Yellowstone Park under the able management of the Northern Pacific Railway Co. 50 feet. 7.50.”
Advertised as part of the "Alaska and Yellowstone
National Park Series" in the "Northern Pacific Railway Series"
(Edison films catalog):
“The following pictures were taken by our artists at various points on
the Northern Pacific Railway. We are greatly indebted to their officials who
afforded us every opportunity in their power to obtain these splendid views.
Many of the scenes are incident to the excitement prevailing at the time of the
Klondike gold rush. They show the resources of this company for handling large
numbers of people, baggage, freight and excursion parties, and give to
prospective tourists and merchants an idea of the facilities with which this
road handles traffic of all kinds (p. 9).”
NOTES
Copyright: Thomas A. Edison; 4Jan1899; 2467.
[NEXT SLIDE FITZ HUGH LANE AND J.M.W. TURNER]
3. A Storm at Sea, 1901:
SUMMARY
From Edison films catalog: “While our photographers were crossing the Atlantic Ocean a most wonderful and sensational picture was secured, showing a storm at sea. The picture was secured by lashing the camera to the after bridge of the Kaiserine Maria Theresa [sic], of the North German Lloyd Line, during one of its roughest voyages. The most wonderful storm picture ever photographed. Taken at great risk. 100 feet. 15.00.”
Filmed ca. June 19-27, 1900, on the Atlantic Ocean.
4. Roosevelt’s Rough Riders Embarking for Santiago, 1898:
NOTES
Copyright: Thomas A. Edison; 22June1898; 38238.
Original main title lacking. DLC Date is copyright and production date; unable to verify if work was ever actually released.
Camera, William Paley.
According to Edison film historian C. Musser, the Rough Riders embarked on either the "Yucatan" or the "Leona." (Edison motion pictures 1890-1900, p. 444)
MAVIS 48456; Roosevelt's Rough Riders embarking for Santiago. DLC
Filmed June 8, 1898, in Tampa, Florida.
5. U.S. Infantry supported by Rough Riders:, 1899
United States Infantry supported by Rough Riders at El Caney
SUMMARY
From Edison films catalog: “Up the road comes a detachment of infantry, firing, advancing, kneeling and firing, again and again. The advance of the foot soldiers is followed by a troop of Rough Riders, riding like demons, yelling and firing revolvers as they pass out of sight. Other troops follow in quick succession, pressing on to front. 100 feet. $15.00”
6. Terrible Teddy, 1901
SUMMARY
From Edison films catalog: “A burlesque on Theodore Roosevelt hunting mountain lions in Colorado and taken from the New York Journal and Advertiser. The scene opens in a very picturesque wood. Teddy with his large teeth is seen running down the hill with his gun in hand, followed by his photographer and press agent. He reconnoitres around a large tree and finally discovers the mountain lion. He kneels on one knee and makes a careful shot. Immediately upon the discharge of his gun a huge black cat falls from the tree and Teddy whips out his bowie knife, leaps on the cat and stabs it several times, then poses while his photographer makes a picture and the press agent writes up the thrilling adventure. A side splitting burlesque. Length 75 feet. 11.25.”
left off here until next time:
Pittsburgh, 1905
See also "Film History Before 1920"
