VM-734

ACROSS THE SUBWAY VIADUCT, NEW YORK, AM&B (1905)
THIS FILM WAS PHOTOGRAPHED FROM A CAMERA PLATFORM AT THE REAR OF A SUBWAY TRAIN THAT STARTS A TRIP THAT ENDS IN A TUNNEL. NO POINT OF DEPARTURE OR DESTINATION IS INDICATED.

ARREST OF A SHOPLIFTER, AM&B (1903)
THE FIRST SCENE TAKES PLACE IN AN OUSIDE SET OF A DEPARTMENT STORE, LIGHTED BY THE SUN, WITH MANY PEOPLE IN FRONT OF THE CAMERA. ONE WOMAN CARRYING A LARGE BAG REMOVES ARTICLES FROM THE COUNTER AND STUFFS THEM INTO THE BAG. ALTHOUGH SHE IS NOT AWARE OF IT, THE HOUSE DETECTIVE HAS HER UNDER SURVEILLANCE AND AS SHE STARTS OUT THE DOOR, HE APPREHENDS HER.

AS SEEN ON THE CURTAIN, AM&B (1904)
THE EXTERIOR OF A HOUSE WITH A WINDOW IS SEEN. A SCANTILY ATTIRED WOMAN COMES TO THE WINDOW, LOOKS ALL AROUND, AND THEN PULLS DOWN THE WINDOW SHADE. SHE THEN PROCEEDS TO DRESS, AS SHOWN IN SILHOUETTE ON THE SHADE. COULD READ AS PROSTITUTE. PROSTITUTION. HOOKER.

THE BENCH IN THE PARK, AM&B (1904)
THE FILM WAS PHOTOGRAPHED FROM ONE CAMERA POSITION AS IF IN THE AUDIENCE. TWO YOUNG LADIES CAN BE SEEN SEATED ON A PARK BENCH IN FRONT OF A PAINTED PARK SCENE BACKDROP. THEY BOTH APPEAR TO BE READING. A YOUNG MAN IN SUMMER CLOTHING COMES UP BEHIND THEIR BENCH AND ENGAGES THEM IN CONVERSATION. AS HE TALKS, HE TILTS THE BENCH, FRIGHTENING THE YOUNG WOMEN, ONE OF WHOM JUMPS TO HER FEET. THE OTHER REMAINS SEATED AND IS KISSED BY THE YOUNG MAN. THEN THEY BOTH SCOLD HIM FOR HIS OUTRAGEIOUS CONDUCT.

BUBBLES! AM&B (1904)
THE FILM WAS PHOTOGRAPHED FROM A SINGLE CAMERA POSITION AND IT SHOWS THREE YOUNG WOMEN SITTING AROUND A SMALL TABLE BLOWING BUBBLES. IN THE CENTER OF THE TABLE IS A BOWL IN WHICH EACH OF THE YOUNG LADIES IS DIPPING A CLAY PIPE. AFTER THEY DIP THE PIPE INTO THE BOWL, THEY BLOW BUBLES FROM THE END OF THE PIPE. THEY THEN SHAKE THE PIPES, ALLOWING THE BUBBLES TO FLOAT INTO THE AIR.

CENTRAL PARK AFTER DARK, AM&B (1903)
THE SCENE OPENS ON A BACKDROP OF FOLIAGE AND TREES. IN FRONT OF THIS BACKDROP A MAN AND WOMAN ARE SITTING ON A PARK BENCH EMBRACING FERVENTLY. AN ACTOR DRESSED AS A POLICEMAN ARRIVES AND SHINES HIS HAND LIGHT ON THE COUPLE, WHO IMMEDIATELY BECOME CIRCUMSPECT AND ARRANGE THEIR CLOTHING. THE POLICEMAN WALKS AWAY TO CONTINUE HIS ROUNDS, AND THE TWO RESUME THEIR EMBRACE. NOTE THE UNUSUAL USE OF A SPOTLIGHT TO SHOW THE POLICEMAN'S HAND LANTERN.

HER NEW PARTY GOWN, AM&B (1903)
FOUR WOMEN CAN BE SEEN ON A SET OF A DRESSMAKER'S CUTTING ROOM. ONE WOMAN IS SEATED AT A SEWING MACHINE, ONE IS STANDING ON A DRESSMAKER'S PEDESTAL, ANOTHER IS MEASURING HER, WHILE THE FOURTH IS PUTTING MATERIALS AWAY. AS THE FILM PROGRESSES, THEY BEGIN REMOVING THE CLOTHING OF THE WOMAN WHO IS BEING MEASURED FOR A DRESS. THE WOMAN UNFASTENS AND DROPS HER SKIRT, THEN SHE COYLY PICKS IT UP AND HOLDS IT IN FRONT OF HER AS IF SHE DOES NOT WANT TO BE SEEN IN SUCH AN UNDRESSED STATE. AM&B PRODUCTION RECORDS SHOW THE TITLE OF HER NEW PARTY GOWN AS HAVING HER GOWN FITTED.

INTERIOR N.Y. SUBWAY, 14TH ST. TO 42ND ST., AM&B (1905)
THE CAMERA PLATFORM WAS ON THE FRONT OF A NEW YORK SUBWAY. TRAIN. THE CAMERA TRAIN IS BEHIND A TRAIN ON THE SAME TRACK, AND THE FILM IS LIGHTED BY A WORK CAR ON THE OPPOSITE TRACK. AS THE TRAINS PROGRESS THROUGH THE SUBWAY, THE FILM RECORDS A TRAIN OPERATOR'S VIEW OF THE SUBWAY DURING OPERATING HOURS: STARTS, STOPS, PLATFORMS, PEOPLE GETTING ON, AND PEOPLE GETTING OFF. THIS DOCUMENTARY WAS PRINTED BY AM&B TOGETHER WITH A RUBE IN THE SUBWWAY AND WAS RELEASED AS A COMEDY BY THEM IN 1905.

THE KLEPTOMANIAC, EDISON (1905)
ARRIVING AT POLICE STATION
COURT ROOM SCENE
TABLEAU
HOME OF THIEF
STEALING BREAD
LEAVING STORE
SUPERINTENDENT'S OFFICE
INTERIOR OF DEPARTMENT STORE
ARRIVING AT STORE
LEAVING HOME
ARRIVING AT POLICE STATION IN PATROL WAGON
ALL ELEVEN PARTS OF THIS FILM OF SOCIAL INJUSTICE ARE PRECEDED BY A TITLE EXPLAINING THE SCENE THAT FOLLOWS. THE STORY IS OF A DESTITUTE WOMAN WITH AN ILL AND STARVING CHILD. SHE STEALS A LOAF OF BREAD AND IS DRAGGED OFF TO JAIL IN A POLICE PATROL WAGON, WHERE SHE WAITS TO BE SENTENCED FOR HER MISDEED. THIS TREATMENT IS CONTRASTED WITH A WEALTHY WOMAN, CAUGHT BY A STORE DETECTIVE STEALING, WHO IS ALLOWED TO PROCEED TO THE MAGISTRATE IN HER OWN CONVEYANCE AND WHO IS IN NO WAY HUMILIATED OR EMBARRASSED. THE LAST SCENE SHOW THE SCALE OF JUSTICE TILTED IN FAVOR OF THE MONIED CLASS.

LOVE BY THE LIGHT OF THE MOON, EDISON (1901)
THE FILM BEGINS ON A SET OF A PARK ON SUMMER EVENING. THERE ARE A FENCE RAILING, SOME FOLIAGE, AND A PARK BENCH AS WELL AS A MOON, WITH A PAINTED FACE, IN THE SKY. A YOUNG COUPLE ENTER AND LEAN ON THE RAILING; THEY LOOK UP AT THE SKY. THE FACE ON THE MOON BEGINS TO SMILE. THE YOUNG COUPLE CONTINUE TO EMBRACE, AND THE SMILE ON THE MOON'S FACE GROWS WIDER. THEY WALK OVER AND SIT DOWN ON THE BENCH, OBSURING THE MOON'S VIEW OF THEM, SO THE SMILE ON THE MOON'S FACE BECOMES A DISAPPOINTED FROWN. AS THE PICTURE ENDS, THE YOUNG MAN IS FANNING THE YOUNG WOMAN WITH HIS STRAW HAT BECAUSE THE MOON, LIKE A JACK-IN-THE-BOX, HAS LEFT THE SKY AND IS HANGING OVER THEIR SHOULDERS.

NEW YORK CITY PUBLIC BATH, EDISON (1903)
FROM A SINGLE CAMERA POSITION, THE FILM SHOWS ABOUT A QUARTER OF A PUBLIC SWIMMING POOL. THE AREA CLOSEST TO THE CAMERA IS A ROPED-OFF SECTION WHERE NEARLY TWO DOZEN SMALL CHILDREN PADDLE ABOUT. THE REMAINDER OF THE FILM SHOWS PORTIONS OF THE DEEPER WATER WHERE ADULTS ARE SWIMMING.

PEEPING TOM IN THE DRESSING ROOM, AM&B (1905)
THE SUBJECT OF THE FILM IS A BURLESQUE OF A PEEPING TOM WHO IS CAUGHT IN THE ACT. FROM THE CAMERA POSITION OF THE AUDIENCE, A SPLIT SET SHOWS A RATHER BUXOM WOMAN DRESSING ON ONE SIDE OF A WALL WHILE A MAN IS KNEELING ON THE OTHER SIDE, WATCHING HER AND ANOTHER GIRL WHO HAS JUST ENTERED. THE PEEPING TOM IS APPREHENDED AND BROUGHT INTO THE PRESENCE OF THE CHORUS GIRLS. THE FILM ENDS AS THE WOMEN BEAT HIM ABOUT THE HEAD AND SHOULDERS WITH POWDER PUFFS.

PULL DOWN THE CURTAINS, SUSIE, AM&B (1904)
A YOUNG LADY IS SHOWN BEING ESCORTED HOME BY HER MALE COMPANION. SHE KISSES HIM GOODNIGHT, GOES INTO THE HOUSE, STANDS BY AN UNSHADED WINDOW, AND STARTS TO REMOVE HER CLOTHING. OUTSIDE THE HOUSE, HER MALE FRIEND CAN BE SEEN WATCHING HER DISROBE. AFTER REMOVING SEVERAL ARTICLES OF CLOTHING, THE YOUNG LADY PULLS THE SHADE DOWN AND THE PICTURE ENDS.

THE RIVALS, AM&B (1903)
A YOUNG MAN AND A YOUNG WOMAN ARE SITTING ON A BENCH. NO BACKGROUND IS VISIBLE. THE CAMERA WAS PLACED AT SUCH A POSITION THAT ONLY THEIR HEADS AND SHOULDERS CAN BE SEEN. THE TWO ARE KISSING AND PETTING. LATER, ANOTHER YOUNG MAN WALKS UP AND SITS DOWN BESIDE THE COUPLE. THE YOUNG WOMAN TURNS FROM HER COMPANION AND BEGINS KISSING AND EMBRACING THE NEW ARRIVAL TO THE DISPLEASURE OF THE FIRST YOUNG MAN. THE PICTURE WAS MADE BY INCANDESCENT LIGHT.

SECTION OF BUSTER BROWN SERIES, SHOWING A SKETCH OF BUSTER BY OUTCAULT, EDISON (1904)
THE CAMERA SHOWS AN OFFICE WALL AGAINST WHICH AN EASEL WITH A WHITE PIECE OF PAPER IS LEANING. STANDING IN FRONT OF THE EASEL IS A GENTLEMAN IN A TAILCOAT AND MORNING TROUSERS. HE NODS HIS HEAD TO EITHER THE CAMERAMAN OR THE MAN DIRECTING THE SCENE TO INDICATE THAT HE IS READY, PICKS UP A PIECE OF BLACK CRAYON, AND STARTS TO DRAW A PICTURE OF A SMALL BOY AND HIS DOG. THE ARTIST WAS MR. OUTCAULT, CREATOR OF THE COMIC STRIP CALLED "BUSTER BROWN AND HIS DOG TIGE."