Читать книгу Magic Shadows. The Story of the Origin of Motion Pictures онлайн

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The special top hat and silk tie audience at Koster & Bial’s Music Hall that Spring evening a half-century ago was treated to a selection of short films which ran only a few moments each: “Sea Waves”, “Umbrella Dance”, “The Barber Shop”, “Burlesque Boxing”, “Monroe Doctrine”, “A Boxing Bout”, “Venice, Showing Gondolas”, “Kaiser Wilhelm, Reviewing His Troops”, “Skirt Dance”, “Butterfly Dance”, “The Bar Room” and “Cuba Libre”.

Thomas Armat, the inventor of the projector which had been built by Edison, supervised projection of those first screen motion pictures shown on Broadway. We can well imagine that Kircher was looking over his shoulder, delighted that his work started 250 years before had been brought to the triumph of the living moving picture.

The great Edison was in a box at the Music Hall that evening and he, too, was glad that the New York audience of first nighters so well received the large screen motion pictures. A few years before, his Kinetograph camera and his Kinetoscope peep-hole viewer had presented motion pictures. But as Kircher in the 17th century wanted his pictures life-size on the screen, so did the public of the Nineties.