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UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures, Windy Ledge Farm (c. 1929-1934)
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UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures, Windy Ledge Farm (c. 1929-1934)

directed by Elizabeth Woodman Wright, fl. 1932, in UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures (Filmmakers Showcase, 1932), 17 mins
AMATEUR AS AUTEUR is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. This collection of black-and-white footage shot by Elizabeth Woodman Wright between 1929 and 1934 in Paris, Maine, and Chocorua, New Hampshire, is quietly astonishing. Wright was a careful...
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UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures, Windy Ledge Farm (c. 1929-1934)

directed by Elizabeth Woodman Wright, fl. 1932, in UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures (Filmmakers Showcase, 1932), 17 mins
Description
AMATEUR AS AUTEUR is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. This collection of black-and-white footage shot by Elizabeth Woodman Wright between 1929 and 1934 in Paris, Maine, and Chocorua, New Hampshire, is quietly astonishing. Wright was a careful recorder of rural life. She did not create an obsessively ordered narrative structure with intertitles. Instead, she captured views of... AMATEUR AS AUTEUR is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. This collection of black-and-white footage shot by Elizabeth Woodman Wright between 1929 and 1934 in Paris, Maine, and Chocorua, New Hampshire, is quietly astonishing. Wright was a careful recorder of rural life. She did not create an obsessively ordered narrative structure with intertitles. Instead, she captured views of the farm called Windy Ledge, in the summer orchard, at haying time, and around the barn, over a period of five years. Her style fits the subject beautifully. The film is peaceful and unusual for amateur footage, leisurely—befitting its subject. —KARAN SHELDON In 1928, Elizabeth Woodman Wright bought a Kodak camera and began filming activities at Windy Ledge Farm, the family’s summer farm in Paris, Maine. We know from her son, Walter Woodman Wright that she took care in preparing her filming, using a tripod, and capturing the passing of seasons. —KARAN SHELDON 16mm 1.37:1 black and white silent with music 16:33 minutes. Compiled by Bruce Posner and David Shepard Show more Show less
Field of Study
Film
Content Type
Documentary
Contributor
Elizabeth Woodman Wright, fl. 1932, Robert Israel, 1963-
Author / Creator
Elizabeth Woodman Wright, fl. 1932
Date Published / Released
1932
Publisher
Filmmakers Showcase
Series
UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures
Copyright Message
Special Cotents of this Edition Copyright © 2020 Filmmakers Showcase. All rights reserved.
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UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures, Fragment from Caroland’s Mansion, 2 Early Films by Frank Stauffacher [2-film compilation]
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UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures, Fragment from Caroland’s Mansion, 2 Early Films by Frank Stauffach...

directed by Frank Stauffacher, 1917-1955, in UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures (Filmmakers Showcase, 1938), 8 mins
AMATEUR AS AUTEUR is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Greatly inspired by silent serials, this brief fragment of a now lost longer film, “Caroland’s Mansion”, is intriguing. Stauffacher’s sense of film space and time are clear, and the...
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UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures, Fragment from Caroland’s Mansion, 2 Early Films by Frank Stauffach...

directed by Frank Stauffacher, 1917-1955, in UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures (Filmmakers Showcase, 1938), 8 mins
Description
AMATEUR AS AUTEUR is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Greatly inspired by silent serials, this brief fragment of a now lost longer film, “Caroland’s Mansion”, is intriguing. Stauffacher’s sense of film space and time are clear, and the possibilities within imply a latent Alice Guy or Louis Feuillade in the making. —BRUCE POSNER Frank Stauffacher was recognized as... AMATEUR AS AUTEUR is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Greatly inspired by silent serials, this brief fragment of a now lost longer film, “Caroland’s Mansion”, is intriguing. Stauffacher’s sense of film space and time are clear, and the possibilities within imply a latent Alice Guy or Louis Feuillade in the making. —BRUCE POSNER Frank Stauffacher was recognized as "one of America's leading authorities on the experimental motion picture" (“New York Times”). He made the reknown pioneer San Francisco films, “Sausalito” (1948) and “Notes on the Port of St. Francis” (1951). He was equally honored for his groundbreaking film series “Art in Cinema” held between 1946 and 1954 at the San Francisco Museum of Modern Art as well as the 1947 historic publication, “Art in Cinema: A Symposium on the Avantgarde Film Together with Program Notes and References for Series One of Art in Cinema”. —BRUCE POSNER EARLY FILMS BY FRANK STAUFFACHER - 2 FILM COMPLIATION129 00:00 FRAGMENT FROM “CAROLAND'S MANSION” (1938, 1:28 minutes) SILENT130 02:36 BICYCLE POLO IN SAN MATEO (1940-42, 5:02 minutes)The 2 little films represent the earliest known surviving efforts at creative filmmaking by Frank Stauffacher. 16mm 1.37:1 black and white color tint color silent 18fps 1:28 minutes Show more Show less
Field of Study
Film
Content Type
Documentary
Author / Creator
Frank Stauffacher, 1917-1955
Date Published / Released
1938
Publisher
Filmmakers Showcase
Series
UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures
Copyright Message
Special Cotents of this Edition Copyright © 2020 Filmmakers Showcase. All rights reserved.
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UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures, Haiti
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UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures, Haiti

directed by Rudy Burckhardt, 1914-1999, in UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures (Filmmakers Showcase, 1938), 16 mins
AMATEUR AS AUTEUR is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Burckhardt’s travelogue of Port-au-Prince is a unique city symphony whose pace and rhythm favor tropical island life. He does not focus on voodoo but on Haiti’s “daily life, neighbors...
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UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures, Haiti

directed by Rudy Burckhardt, 1914-1999, in UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures (Filmmakers Showcase, 1938), 16 mins
Description
AMATEUR AS AUTEUR is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Burckhardt’s travelogue of Port-au-Prince is a unique city symphony whose pace and rhythm favor tropical island life. He does not focus on voodoo but on Haiti’s “daily life, neighbors, jokes, gossip, small dramas, Saturday night dances, and ghost stories,” evoking a place where time seems to stand still. —BRUCE P... AMATEUR AS AUTEUR is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Burckhardt’s travelogue of Port-au-Prince is a unique city symphony whose pace and rhythm favor tropical island life. He does not focus on voodoo but on Haiti’s “daily life, neighbors, jokes, gossip, small dramas, Saturday night dances, and ghost stories,” evoking a place where time seems to stand still. —BRUCE POSNER At 21, Rudy Burckhardt moved from Switzerland to New York City with poet-playwright Edwin Denby. He became an essential participant in the burgeoning modern art scene of painters, musicians, dancers, writers and the like. Taking up photography and filmmaking, Burckhardt “photographed and filmed his friends, including many New York School artists, as well as myriad views of his adopted city” [Roberta Smith] and produced substantial bodies of work in each, blending them together seamlessly in content and style. —BRUCE POSNER 16mm 1.37:1 black and white sound 15:08 minutes. Music: Erik Satie Show more Show less
Field of Study
Film
Content Type
Documentary
Contributor
Erik Satie, 1866-1925
Author / Creator
Rudy Burckhardt, 1914-1999
Date Published / Released
1938
Publisher
Filmmakers Showcase
Series
UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures
Copyright Message
Special Cotents of this Edition Copyright © 2020 Filmmakers Showcase. All rights reserved.
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UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures, Tree Trunk to Head
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UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures, Tree Trunk to Head

directed by Lewis Jacobs, 1906-1997; performed by Chaim Gross, fl. 1938, in UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures (Filmmakers Showcase, 1938), 36 mins
AMATEUR AS AUTEUR is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. The personality of the sculptor Chaim Gross, his mannerisms, his characteristic method of work, his tendencies are all intimately disclosed in minute details, as though unobserved—a sort...
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UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures, Tree Trunk to Head

directed by Lewis Jacobs, 1906-1997; performed by Chaim Gross, fl. 1938, in UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures (Filmmakers Showcase, 1938), 36 mins
Description
AMATEUR AS AUTEUR is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. The personality of the sculptor Chaim Gross, his mannerisms, his characteristic method of work, his tendencies are all intimately disclosed in minute details, as though unobserved—a sort of candid-camera study. Dramatic form and cinematic structure endow the presentation with excitement, humor, and interest. —LEWIS JAC... AMATEUR AS AUTEUR is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. The personality of the sculptor Chaim Gross, his mannerisms, his characteristic method of work, his tendencies are all intimately disclosed in minute details, as though unobserved—a sort of candid-camera study. Dramatic form and cinematic structure endow the presentation with excitement, humor, and interest. —LEWIS JACOBSAlthough it was filmed in 1937, “Tree Trunk to Head “wasn’t released until 1951. In the intervening years, art documentaries became popular in the United States and Europe, but few presented a complete artistic process with so photogenic an artist as sculptor Chaim Gross. —CECILE STARR Born in Philadelphia, Lewis Jacobs was educated as a painter yet desired to make Soviet-style films. In addition to co-editing in the 1930s “Experimental Cinema”, the first American film magazine dealing with art and social issues, Jacobs wrote the influential book, “The Rise of the American Film” (1939) and edited numerous other books. With Jo Gerson and Louis Hirshman, Jacobs formed Cinema Crafters of Philadelphia in 1927, thus beginning a life-long filmmaking career. He made his own short films and produced, directed, photographed, and wrote more than 40 experimental, documentary, and educational films. He engaged in what he called “a process of continuous discovery. —ARAM BOYAJIAN / ROBERT A. HALLER 16mm 1.37:1 black and white silent with music 18fps 36:05 minutes. Production: Film Associates Show more Show less
Field of Study
Film
Content Type
Documentary
Performer / Ensemble
Chaim Gross, fl. 1938
Contributor
Leo Lances, fl. 1938, Rodney Sauer, fl. 1998-2010
Author / Creator
Lewis Jacobs, 1906-1997, Chaim Gross, fl. 1938
Date Published / Released
1938
Publisher
Filmmakers Showcase
Series
UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures
Topic / Theme
Himself 1
Copyright Message
Special Cotents of this Edition Copyright © 2020 Filmmakers Showcase. All rights reserved.
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UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures, 1126 Dewey Ave., Apt. 207
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UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures, 1126 Dewey Ave., Apt. 207

directed by John C. Hecker, fl. 1939, in UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures (Filmmakers Showcase, 1939), 4 mins,
Source: www.imdb.com
AMATEUR AS AUTEUR is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. This mysterious film documents a neatly appointed apartment and the spartan existence of its inhabitants. A woman moves through the rooms. She pours two glasses of wine, sits, reads a magaz...
Sample

UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures, 1126 Dewey Ave., Apt. 207

directed by John C. Hecker, fl. 1939, in UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures (Filmmakers Showcase, 1939), 4 mins,
Source: www.imdb.com
Description
AMATEUR AS AUTEUR is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. This mysterious film documents a neatly appointed apartment and the spartan existence of its inhabitants. A woman moves through the rooms. She pours two glasses of wine, sits, reads a magazine, and combs her hair. All the while material possessions surround her, ominously dominating the environment. —BRUCE POSNER Dr. Jo... AMATEUR AS AUTEUR is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. This mysterious film documents a neatly appointed apartment and the spartan existence of its inhabitants. A woman moves through the rooms. She pours two glasses of wine, sits, reads a magazine, and combs her hair. All the while material possessions surround her, ominously dominating the environment. —BRUCE POSNER Dr. John C. Hecker worked at Eastman Kodak for 40 years, retiring in 1973 as President and General Manager of Distillation Products Industries. Between 1943 and 1946 he served as Production Manager at Oak Ridge Tennessee Eastman working on the Manhattan Project. He had a deep-rooted interest in amateur film including experimenting with new varieties. —JOHN C. HECKER, JR 16mm 1.37:1 black and white and color silent with music 18fps 3:55 minutes. New music by Rodney Sauer Show more Show less
Field of Study
Film
Content Type
Performance
Author / Creator
John C. Hecker, fl. 1939
Date Published / Released
1939
Publisher
Filmmakers Showcase
Series
UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures
Copyright Message
Special Cotents of this Edition Copyright © 2020 Filmmakers Showcase. All rights reserved.
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UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures, Reel 54, Archie Stewart Family Home Movies (1936-1939), Reels 54, 66, 73, 74 [4-film compilation]
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UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures, Reel 54, Archie Stewart Family Home Movies (1936-1939), Reels 54, 66...

directed by Archie Stewart, in UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures (Filmmakers Showcase), 34 mins
AMATEUR AS AUTEUR is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Between 1926 and 1985, amateur Archie Stewart shot over seventy thousand feet of film. In 1936, he purchased a sound-on-film 16mm camera and began to make talking pictures. The result is th...
Sample

UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures, Reel 54, Archie Stewart Family Home Movies (1936-1939), Reels 54, 66...

directed by Archie Stewart, in UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures (Filmmakers Showcase), 34 mins
Description
AMATEUR AS AUTEUR is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Between 1926 and 1985, amateur Archie Stewart shot over seventy thousand feet of film. In 1936, he purchased a sound-on-film 16mm camera and began to make talking pictures. The result is that we can see and hear what Archie experienced at the moment of filming. Stewart primarily focused on his family, watching them grow an... AMATEUR AS AUTEUR is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Between 1926 and 1985, amateur Archie Stewart shot over seventy thousand feet of film. In 1936, he purchased a sound-on-film 16mm camera and began to make talking pictures. The result is that we can see and hear what Archie experienced at the moment of filming. Stewart primarily focused on his family, watching them grow and mature as the years passed. Here we partake in four years of family activities, trips, and holiday seasons, as well as technical experiments. The record, intimate and endearing, shows people comfortable in front of the ever-present camera and microphone. — BRUCE POSNER Based in Newburgh, New York, Archibald “Archie” Stewart was a car dealer by occupation and an avid home moviemaker throughout most of his adult life. Beginning in 1926, Stewart filmed much of his family and social life, vacations and travels, and annual deer hunting trips to rural Maine. — BRUCE POSNER ARCHIE STEWART FAMILY HOME MOVIES (1936-1939) - 4 FILM COMPLIATION131 00:00 REEL 54 (1936, 14:33 minutes)132 15:11 REEL 66 (1937, 14:04 minutes)135 29:15 REEL 73 (1938, 3:59 minutes)134 33:14 REEL 74 (1939, 19 seconds) Alternate title: “Reels 54, 66, 73, 74”. 16mm 1.37:1 black and white and color sound 33:36 minutes. Compiled by Bruce Posner and David Shepard Show more Show less
Field of Study
Film
Content Type
Documentary
Author / Creator
Archie Stewart
Date Published / Released
1995
Publisher
Filmmakers Showcase
Series
UNSEEN CINEMA 6: The Amateur as Auteur: Discoving Paradise in Pictures
Copyright Message
Special Cotents of this Edition Copyright © 2020 Filmmakers Showcase. All rights reserved.
Segments
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UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE, Annabelle Butterfly Dance #1 (1894) - Annabelle Dances and Dances (1894-1897) [10-film compilation]
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UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE, Annabelle Butterfly Dance #1 (1894) - Annabelle Dances and Dances (1894-1897)...

directed by William K. L. Dickson, 1860-1935; produced by William K. L. Dickson, 1860-1935, Edison Manufacturing Company; performed by Annabelle Moore, 1878-1961, in UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE (United States: Filmmakers Showcase, 1894), 5 mins
VIVA LA DANCE is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Annabelle’s skirt dances are among the earliest artistic works in film history. Looking directly at us, she turns, crouches, extends her arms, carves the space of the frame with the multi-hue...
Sample

UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE, Annabelle Butterfly Dance #1 (1894) - Annabelle Dances and Dances (1894-1897)...

directed by William K. L. Dickson, 1860-1935; produced by William K. L. Dickson, 1860-1935, Edison Manufacturing Company; performed by Annabelle Moore, 1878-1961, in UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE (United States: Filmmakers Showcase, 1894), 5 mins
Description
VIVA LA DANCE is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Annabelle’s skirt dances are among the earliest artistic works in film history. Looking directly at us, she turns, crouches, extends her arms, carves the space of the frame with the multi-hued drapes attached to wands in her hands. There are no edits, no camera movements, just a graceful kinetic invocation. —ROBERT A. HALL... VIVA LA DANCE is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. Annabelle’s skirt dances are among the earliest artistic works in film history. Looking directly at us, she turns, crouches, extends her arms, carves the space of the frame with the multi-hued drapes attached to wands in her hands. There are no edits, no camera movements, just a graceful kinetic invocation. —ROBERT A. HALLER. Annabelle Whitford Moore, one of the first film stars, made her debut at the Columbian Exposition in 1893. She was a featured performer on Broadway when Dickson filmed her in 1894. Her Serpentine and Butterfly Dances were so popular that Dickson filmed her again for the American Mutoscope in 1896. —PAUL SPEHR, William Kennedy Laurie Dickson, best known as Edison’s assistant in developing the Kinetoscope and Kinetograph, was an important and influential filmmaker. Perhaps, Dickson was the only filmmaker to make films with a camera and a film format (35mm) of his design, in a film studio (Black Maria) that he also designed. He established film production for Edison (1891-1895), American Mutoscope (1896-1897), and British Mutoscope (1897-1903). Working as the director and with assistants such as Heise and Bitzer, he produced more than five hundred films, many of them among the most memorable of the era. —PAUL SPEHR. RJames White, a technician working for Raff & Gammon, the distributor for Edison’s Kinetoscope, was hired by Edison’s business manager William Gilmore. At Edison Manufacturing, he supervised film production, a position he held until 1903 when he was sent to England to manage Edison’s film business there. —PAUL SPEHR, Willaim Heise, Dickson’s assistant during experiments on the Kinetophone, was trained in photography and operated the camera for the early productions in Edison’s Black Maria (1893-1895). When Dickson left Edison in April 1895, Heise stayed and filmed a number of productions with James White. Heise took over direction in October 1896. —PAUL SPEHR, Edison Manufacturing Co., formed to market products invented by Thomas Edison, handled his motion picture and closely related phonograph business. In 1896, as the Kinetoscope business faltered, Edison appointed William Gilmore to manage the company. Gilmore took distribution out of the hands of independents like Raff & Gammon and Maguire & Baucus. Then Edison began a series of lawsuits to repress competitors. Patent suits dominated the American film market prior to W.W.I and kept Edison the predominant American film company during much of this period. Until recently aesthetic advancements made by Edison’s filmmakers have been overshadowed by accounts of the legal wrangling. –PAUL SPEHR / BRUCE POSNER ANNABELLE DANCES AND DANCES (1894-1897) - 10 FILM COMPLIATION169 00:00 ANNABELLE BUTTERFLY DANCE #1 (1894 black & white, 0:18 seconds)170 00:59 ANNABELLE BUTTERFLY DANCE #3 (1895 black & white, 0:13 seconds)171 01:12 ANNABELLE BUTTERFLY DANCE #3 (1895 color tint, 0:12 seconds)172 01:24 SERPENTINE DANCE BY ANNABELLE (1896 black & white 0:28 seconds)173 01:52 ANNABELLE SERPENTINE DANCE #1 (1894 color tint, 0:18 seconds)174 02:10 ANNABELLE SERPENTINE DANCE #4 (1897 color tint, 0:25 seconds)175 02:35 CRISSIE SHERIDAN SERPENTINE DANCE (1897 black & white, 0:18 seconds)176 02:53 CRISSIE SHERIDAN SERPENTINE DANCE (1897 color tint, 0:15 seconds)177 03:08 SERPENTINE DANCE #4 (1897 color tint, 1:09 minutes)178 04:17 SERPENTINE DANCE (1895 color tint, 0:55 seconds) 35mm 1.33:1 and 16mm from 35mm 1.37:1 black and white color tint silent with music 16-40fps 5:18 minutes. Production: Edison Manufacturing Co., American Mutoscope and Biograph Company Show more Show less
Field of Study
Film
Content Type
Performance
Performer / Ensemble
Annabelle Moore, 1878-1961
Contributor
William K. L. Dickson, 1860-1935, Edison Manufacturing Company
Author / Creator
William K. L. Dickson, 1860-1935, Annabelle Moore, 1878-1961
Date Published / Released
1894
Publisher
Filmmakers Showcase
Series
UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE
Topic / Theme
Herself 1
Copyright Message
Special Cotents of this Edition Copyright © 2020 Filmmakers Showcase. All rights reserved.
Segments
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UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE, Butterfly Dance
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UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE, Butterfly Dance

directed by William Heise, fl. 1890-1903 and William K.L. Dickson, 1860-1935; produced by William Heise, fl. 1890-1903, Edison Manufacturing Company; performed by Annabelle Moore, 1878-1961, in UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE (Filmmakers Showcase, 1895), 2 mins
VIVA LA DANCE is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. An exquisitely sharp image and fancy hand tinting-toning make this little “serpentine dance” a unique viewing experience, even though it is mistitled as a “butterfly dance.” The new tit...
Sample

UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE, Butterfly Dance

directed by William Heise, fl. 1890-1903 and William K.L. Dickson, 1860-1935; produced by William Heise, fl. 1890-1903, Edison Manufacturing Company; performed by Annabelle Moore, 1878-1961, in UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE (Filmmakers Showcase, 1895), 2 mins
Description
VIVA LA DANCE is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. An exquisitely sharp image and fancy hand tinting-toning make this little “serpentine dance” a unique viewing experience, even though it is mistitled as a “butterfly dance.” The new title card attributes the film to the Edison Manufacturing Company, but little else is known or has yet to be verified of its origins. —... VIVA LA DANCE is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. An exquisitely sharp image and fancy hand tinting-toning make this little “serpentine dance” a unique viewing experience, even though it is mistitled as a “butterfly dance.” The new title card attributes the film to the Edison Manufacturing Company, but little else is known or has yet to be verified of its origins. —BRUCE POSNER Edison Manufacturing Co., formed to market products invented by Thomas Edison, handled his motion picture and closely related phonograph business. In 1896, as the Kinetoscope business faltered, Edison appointed William Gilmore to manage the company. Gilmore took distribution out of the hands of independents like Raff & Gammon and Maguire & Baucus. Then Edison began a series of lawsuits to repress competitors. Patent suits dominated the American film market prior to WWI and kept Edison the predominant American film company during much of this period. Until recently aesthetic advancements made by Edison’s filmmakers have been overshadowed by accounts of the legal wrangling. –PAUL SPEHR / BRUCE POSNER 35mm 1.33:1 black and white color tint silent 30fps, 1:29 minutes. Production: Edison Manufacturing Co. Show more Show less
Field of Study
Film
Content Type
Documentary
Performer / Ensemble
Annabelle Moore, 1878-1961
Contributor
William Heise, fl. 1890-1903, Edison Manufacturing Company
Author / Creator
William Heise, fl. 1890-1903, William K.L. Dickson, 1860-1935, Annabelle Moore, 1878-1961
Date Published / Released
1895-04-01
Publisher
Filmmakers Showcase
Series
UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE
Topic / Theme
Dances, Herself 1
Copyright Message
Special Contents of this Edition Copyright © 2020 Filmmakers Showcase. All rights reserved.
×
UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE, Davy Jones’ Locker, Early Superimpositions (1896-1900) [3-film compilation]
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UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE, Davy Jones’ Locker, Early Superimpositions (1896-1900) [3-film compilation]

directed by Frederick S. Armitage, 1874-1933, in UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE (Filmmakers Showcase, 1897), 2 mins
VIVA LA DANCE is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. “Davy Jones’ Locker” (1900) combined “Wreck of the Schooner ‘Richmond’” (1897) with “The Dancing Skeleton” (1897) creating the appearance of the skeleton rising from the sunke...
Sample

UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE, Davy Jones’ Locker, Early Superimpositions (1896-1900) [3-film compilation]

directed by Frederick S. Armitage, 1874-1933, in UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE (Filmmakers Showcase, 1897), 2 mins
Description
VIVA LA DANCE is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. “Davy Jones’ Locker” (1900) combined “Wreck of the Schooner ‘Richmond’” (1897) with “The Dancing Skeleton” (1897) creating the appearance of the skeleton rising from the sunken vessel. —PAUL SPEHR Frederick S. Armitage, an innovative cameraman-director for the American Mutoscope and Biograph Co. (c.1899-19... VIVA LA DANCE is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. “Davy Jones’ Locker” (1900) combined “Wreck of the Schooner ‘Richmond’” (1897) with “The Dancing Skeleton” (1897) creating the appearance of the skeleton rising from the sunken vessel. —PAUL SPEHR Frederick S. Armitage, an innovative cameraman-director for the American Mutoscope and Biograph Co. (c.1899-1905) and the Edison Company (1909- ?) made an early attempt to combine film and sound (“A Gay Old Boy”, 1899) and several prototype “special effects” films featuring innovative cinematography and printing techniques. — PAUL SPEHR EARLY SUPERIMPOSITIONS (1896-1900) - 3 FILM COMPILATION149 00:00 DAVY JONES’ LOCKER (1897, 1900, 26 seconds)150 00:54 NEPTUNE’S DAUGHTERS (1897, 1899, 1900, 28 seconds)151 01:23 A NYMPH OF THE WAVES (1896, 1899, 1900, 26 seconds)The filmmaker in 1900 took several different scenes shot earlier between 1896, 1897 and 1899 and double-printed two sets of images together to create new artistic creations. The transformation of a stage dance into a unique ciné-dance could only be possible in cinema and never be presented as a live performance. —BRUCE POSNERThe work was done at the laboratory in Hoboken as Biograph’s (American Mutoscope & Biograph) efforts to produce trick films at the very end of 1900 and the beginning of the new January with camera operator F. S. Armitage in charge. The big (68mm) camera could not be stopped and backed up to do in the camera double exposures. So they tried a variety of ways to create them. Three films were made on Jan. 5, 1901 with the two other films made that day were "Cast up by the Waves" (combining "Phrosine and Meledore" and "Sad Sea Waves") and "Rock of Ages" (combining ["Upper Rapids from Bridge"] and "Rock of Ages"). —PAUL SPEHR 16mm from 35mm 1.33:1 black and white silent with music 16fps 1:49 minutes. Production: American Mutoscope and Biograph Co. Show more Show less
Field of Study
American Film
Content Type
Documentary
Author / Creator
Frederick S. Armitage, 1874-1933
Date Published / Released
1897
Publisher
Filmmakers Showcase
Series
UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE
Copyright Message
Special Cotents of this Edition Copyright © 2020 Filmmakers Showcase. All rights reserved.
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UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE, Dance, Work, Play 1894-1899
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UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE, Dance, Work, Play 1894-1899

directed by James H. White, 1872-1944, William Heise, fl. 1890-1903 and William K.L. Dickson, 1860-1935; produced by American Mutoscope and Biograph Company and Edison Manufacturing Company; performed by Annabelle Moore, 1878-1961, in UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE (Filmmakers Showcase, 1898), 6 mins
VIVA LA DANCE is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. These brief glimpses were some of the first images captured in America to show us the world in motion. They were viewed one at-a-time through a peephole viewer known as the Kinetoscope machine...
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UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE, Dance, Work, Play 1894-1899

directed by James H. White, 1872-1944, William Heise, fl. 1890-1903 and William K.L. Dickson, 1860-1935; produced by American Mutoscope and Biograph Company and Edison Manufacturing Company; performed by Annabelle Moore, 1878-1961, in UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE (Filmmakers Showcase, 1898), 6 mins
Description
VIVA LA DANCE is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. These brief glimpses were some of the first images captured in America to show us the world in motion. They were viewed one at-a-time through a peephole viewer known as the Kinetoscope machine designed by Thomas Edison for singular viewing. Additionally, the Biograph camera was soon developed, and eventually movie projectors... VIVA LA DANCE is part of the film retrospective UNSEEN CINEMA that explores long-forgotten American experimental cinema. These brief glimpses were some of the first images captured in America to show us the world in motion. They were viewed one at-a-time through a peephole viewer known as the Kinetoscope machine designed by Thomas Edison for singular viewing. Additionally, the Biograph camera was soon developed, and eventually movie projectors would enlarge the moving picture spectacles onto larger screens for vastly larger audiences. —BRUCE POSNER Annabelle’s skirt dances are among the earliest artistic works in film history. Looking directly at us, she turns, crouches, extends her arms, and carves the space of the frame with the multi-hued drapes attached to wands in her hands. There are no edits, no camera movements, just a graceful kinetic invocation.” —ROBERT A. HALLER Annabelle Whitford Moore, one of the first film stars, made her debut at the Columbian Exposition in 1893. She was a featured performer on Broadway when Dickson filmed her in 1894. Her Serpentine and Butterfly Dances were so popular that Dickson filmed her again for the American Mutoscope in 1896. —PAUL SPEHR William Kennedy Laurie Dickson, best known as Edison’s assistant in developing the Kinetoscope and Kinetograph, was an important and influential filmmaker. Perhaps, Dickson was the only filmmaker to make films with a camera and a film format (35mm) of his design, in a film studio (Black Maria) that he also designed. He established film production for Edison (1891-1895), American Mutoscope (1896-1897), and British Mutoscope (1897-1903). Working as the director and with assistants such as Heise and Bitzer, he produced more than five hundred films, many of them among the most memorable of the era. —PAUL SPEHR James White, a technician working for Raff & Gammon, the distributor for Edison’s Kinetoscope, was hired by Edison’s business manager William Gilmore. At Edison Manufacturing, he supervised film production, a position he held until 1903 when he was sent to England to manage Edison’s film business there. —PAUL SPEHR Willaim Heise, Dickson’s assistant during experiments on the Kinetophone, was trained in photography and operated the camera for the early productions in Edison’s Black Maria (1893-1895). When Dickson left Edison in April 1895, Heise stayed and filmed a number of productions with James White. Heise took over direction in October 1896. —PAUL SPEHR Edison Manufacturing Co., formed to market products invented by Thomas Edison, handled his motion picture and closely related phonograph business. In 1896, as the Kinetoscope business faltered, Edison appointed William Gilmore to manage the company. Gilmore took distribution out of the hands of independents like Raff & Gammon and Maguire & Baucus. Then Edison began a series of lawsuits to repress competitors. Patent suits dominated the American film market prior to W.W.I and kept Edison the predominant American film company during much of this period. Until recently aesthetic advancements made by Edison’s filmmakers have been overshadowed by accounts of the legal wrangling. –PAUL SPEHR / BRUCE POSNER THE KINETOSCOPE: DANCE WORK PLAY (1893-1898) - 12 FILM COMPILATION 137 00:00 ELLA LOLA, A LA TRILBY (1898, 31 seconds) 138 01:15 ANNABELLE BUTTERFLY DANCE #1 (1894, 20 seconds) 139 01:35 ANNABELLE BUTTERFLY DANCE #3 (1895, 25 seconds) 140 02:00 SERPENTINE DANCE BY ANNABELLE (1896, 23 seconds) 141 02:23 ANNABELLE SERPENTINE DANCE #1 (1894 color tint, 14 seconds) 142 02:37 [CRISSIE SHERIDAN SERPENTINE DANCE x 2] (1897, 32 seconds) 143 03:09 SERPENTINE DANCE #4 (1897 color tint, 48 seconds) 144 03:57 BLACKSMITHING SCENE (1893, 27 seconds) 145 04:24 SANDOW, NO. 1 (1894, 27 seconds) 146 04:51 THE BARBER SHOP (1893, 22 seconds) 147 05:13 COCK FIGHT (1894, 17 seconds) 148 05:30 HORNBACKER-MURPHY FIGHT (1894, 17 seconds) 35mm 1.33:1 black and white color tint silent 30-40fps, 5:55 minutes. Production: Edison Manufacturing Co. Show more Show less
Field of Study
Film
Content Type
Documentary
Performer / Ensemble
Annabelle Moore, 1878-1961
Contributor
American Mutoscope and Biograph Company, Edison Manufacturing Company
Author / Creator
James H. White, 1872-1944, William Heise, fl. 1890-1903, William K.L. Dickson, 1860-1935, Annabelle Moore, 1878-1961
Date Published / Released
1898
Publisher
Filmmakers Showcase
Series
UNSEEN CINEMA 7: Viva La Dance: The Beginnings of CINÉ-DANCE
Topic / Theme
Dances, Herself 1
Copyright Message
Special Contents of this Edition Copyright © 2020 Filmmakers Showcase. All rights reserved.
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