Historic Films Stock Footage Archive: VM-735

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06:01:54 0	SHOOT THE CHUTES SERIES. CONEY ISLAND. EDISON, 1899 A SHOOT-THE-CHUTE RIDE IN AN AMUSEMENT PARK IS SHOWN. PEOPLE ARE RIDING IN THE LITTLE BOATS THAT GO UP AND BACK DOWN THE SLIDE. THE FILM WAS PHOTOGRAPHED FROM FOUR CAMERA POSITIONS: AT THE BOTTOM OF A SLIDE ACROSS THE WATER, AT THE TOP OF THE SLIDE SHOWING PEOPLE ENTERING THE BOATS AND SLIDING DOWN INTO THE WATER, FROM ONE OF THE BOATS AS IT GOES DOWN THE SLIDE INTO THE WATER AND CROSSES THE LITTLE POND TO THE OPPOSITE SIDE. THE LAST POSITION SHOWS THE SPECTATORS WATCHING THE PEOPLE SLIDE DOWN THE CUTE.
06:05:06 192.6	SHOOTING THE CHUTES. LUNA PARK, CONEY ISLAND. AM&B, 1903 THE CAMERA WAS POSITIONED TO VIEW THE SHOOT-THE-CHUTES CONCESSION FROM THE BEST LOCATION. A SPECIAL ADDED ATTRACTION FOR THE ENTERTAINMENT OF THE SPECTATORS IS A MAN IN A SWIMMING SUIT WHO RIDES DOWN THE SHOOT-THE-CHUTES ON ONE SKI.
06:06:22 268.6	SKYSCRAPERS OF NYC, FROM THE NORTH RIVER. EDISON, 1903 TURN OF THE CENTURY NYC, NEW YORK CITY. THE FILM BEGINS WITH A VIEW OF THE NEW YORK SKYLINE, BUILDINGS, BRIDGES, ETC., FROM THE WATERFRONT. THE CAMERA PLATFORM IS A BOAT. THE ITINERARY INCLUDES SOME OF THE BEST COMBINATIONS OF RAILROAD AND STEAMSHIP DOCKS THEN IN EXISTENCE. MOST OF THE LARGE BUILDINGS BEHIND THE NEW YORK WATERFRONT DOCK AREA CAN BE SEEN CLEARLY.
06:08:54 420.6	SLIDE FOR LIFE. LUNA PARK, CONEY ISLAND. AM&B, 1903 THIS SHOWS AN ACROBATIC TEAM PERFORMING ON A REVOLVING FLYING RING UNIT SUSPENDED BETWEEN THE TOWERS AT LUNA PARK. DURING THE FILM THE TWO FEMALE AERIALISTS EXHIBIT SEVERAL FEATS OF STRENGTH, DARING AND SKILL, SUCH AS HANGING BY THEIR TEETH, FEET OR FINGERS WHILE REVOLVING AROUND THE AXIS OF THE TRAPEZE.
06:10:39 525.6	SONG OF THE SHIRT. AM&B, 1908 THERE ARE SIX SCENES IN THIS PICTURE, BEGINNING IN THE POVERTY-STRICKEN ROOM OF A YOUNG WOMAN, FLORENCE LAWRENCE, WHO IS DESPERATE BECAUSE HER MOTHER, LINDA ARVIDSON, IS NEAR DEATH'S DOOR AND SHE HAS NO MONEY FOR FOOD OR MEDICINE. SHE ATTEMPTS TO OBTAIN EMPLOYMENT FROM A HARD-HEARTED CLOTHING MANUFACTURER AND IS FINALLY GIVEN SOME CLOTHING TO TAKE HOME TO STITCH. THE REMAINDER OF THE FILM ALTERNATES BETWEEN SCENES OF THE YOUNG WOMAN WORKING FRANTICALLY OVER THE SEWING MACHINE AS HER MOTHER GETS WORSE AND WORSE AND SCENES OF THE MANUFACTURER DRINKING, EATING, AND GENERALLY LIVING IT UP IN THE COMPANY OF LOOSE WOMEN, SQUANDERING THE MONEY HIS EMPLOYEES HAVE MADE FOR HIM. THE FILM ENDS WITH THE DEATH OF THE MOTHER AND THE DAUGHTER. AM&B BULLETIN SAYS OF THIS FILM, "BEAUTIFUL PORTRAYAL OF THOMAS HOOD'S FAMOUS POEM."
06:16:55 901.6	SPIDER AND THE FLY. AM&B, 1903 A BEAUTIFUL YOUNG BLONDE WOMAN IN SCANTY ATTIRE IS SEEN RECLINING IN THE CENTER OF A SET OF A SPIDER WEB. A WELL-DRESSED YOUNG MAN PASSES IN FRONT OF HER. SHE ATTRACTS HIS ATTENTION AND ENCOURAGES HIM TO APPROACH HER. AT FIRST HE IS RELUCTANT BUT THEN GOES UP AND KISSES HER HAND.
06:17:21 927.6	STEEPLECHASE, CONEY ISLAND. AM&B, 1903 THIS FILM SHOWS A MECHANICAL RIDE IN AN AMUSEMENT PARK, DESIGNED TO ALLOW CUSTOMERS TO RIDE DOWN AN UNDULATING INCLINE ASTRIDE WOODEN HORSES. SEVERAL GROUPS OF PEOPLE ARE SEEN ENJOYING THE RIDE DOWN THE INCLINE.
06:18:15 981.6	STERN'S DUPLEX RAILWAY. AM&B, 1905 CONEY ISLAND, NY. THE FILM SHOWS AN UNUSUAL TYPE OF RAILROAD CAR DESIGNED TO GO OVER OR UNDER AN ONCOMING CAR INSTEAD OF AROUND IT, AS CONVENTIONAL RAILROAD CARS MUST DO. EACH CAR NOT ONLY RUNS ON TRACKS BUT ALSO HAS A SET OF TRACKS OVER ITS TOP, PERMITTING AN ONCOMING CAR TO GO OVER IT. THE CAMERA WAS PLACED CLOSE TO A PLATFORM ON WHICH THE PASSENGER-LADEN TRAIN RAN, AND THE OVER-AND-UNDER VEHICLE DEMONSTRATED ITS UNUSUAL CAPABILITIES SEVERAL TIMES.
06:19:18 1044.6	STOP THIEF! MELIES, 1905 IN ORDER TO PHOTOGRAPH THIS FILM, THE CAMERAMAN PLACED HIS EQUIPMENT ON A BROAD SIDEWALK IN THE BUSINESS DISTRICT OF A LARGE CITY, PROBABLY NEW YORK. AS THE ACTION BEGINS, A WOMAN DRESSED IN THE FASHION OF THE TIME IS SEEN APPROACHING THE CAMERA POSITION. SHE STOPS IN FRONT OF THE WINDOW OF A MERCANTILE STORE. WHILE SHE IS SCRUTINIZING THE MERCHANDISE, A PURSE SNATCHER COMES FROM THE REAR, GRABS HER HANDBAG, TURNS, AND MAKES OFF WITH IT IN THE OPPOSITE DIRECTION. THE WOMAN CAUSES QUITE A COMMOTION, WAVES HER ARMS AND YELLS ATTRACTING A LARGE CROWD, INCLUDING SOME POLICEMEN. THE CAMERAMAN CHANGED HIS POSITION AND THE LAST SCENE SHOWS THE WOMAN, ESCORTED BY TWO POLICEMEN AND FOLLOWED BY A GROUP OF PEOPLE, WALKING DOWN THE SIDEWALK INTO A BUILDING THAT MIGHT BE A POLICE STATION. THIS FILM WAS SHOT BY THE GEORGES MELIES COMPANY IN NEW YORK.
06:20:23 1109.6	SUBJECT FOR THE ROGUE'S GALLERY. AM&B, 1904 THE FILM BEGINS ON AN UNOCCUPIED SET OF A POLICE STATION PHOTOGRAPHIC GALLERY. A PHOTOGRAPHER COMES IN AND STANDS BY HIS CAMERA. ONE MAN DRESSED AS A CIVILIAN ACCOMPANIED BY A MAN IN POLICE UNIFORM BRING IN AN ATTRACTIVE YOUNG WOMAN. THEY SEAT HER ON THE STOOL DIRECTLY IN FRONT OF THE CAMERA. SHE RESISTS HAVING HER PICTURE TAKEN SO THE TWO MEN HOLD HER HEAD STEADY. AT THAT MOMENT, THE CAMERA BEGINS TO MOVE DIRECTLY TOWARD THE YOUNG WOMAN AND, AS THE CAMERA GETS CLOSER AND CLOSER TO HER, IT CAN BE SEEN THAT SHE IS GRIMACING AND DISTORTING HER FACE IN AN ATTEMPT TO DISGUISE HER IDENTITY. THE CAMERA CONTINUES TO MOVE CLOSER TOWARD THE SUBJECT UNTIL IT ARRIVES AT THE POINT OF A TIGHT HEAD-SHOT. THERE ARE SEVERAL FEET OF "RUN OFF" FILM AT THE END APPARENTLY HAVING NO CONNECTION WITH THE PRECEDING ACTION.
06:21:17 1163.6	THE SWIMMING CLASS. AM&B, 1904 IT IS OBVIOUS THAT THE CAMERAMAN PLACED HIS EQUIPMENT CLOSE TO THE EDGE OF A SEASHORE. A LARGE NUMBER OF CHILDREN FOLLOWED BY BATHERS CAN BE SEEN RUNNING INTO THE SURF FROM BEHIND THE CAMERA POSITION. CLOSE TO THE END, THE CAMERA'S VIEW IS OBSCURED AS A FEMALE BATHER OF LARGE PROPORTIONS STROLLS BETWEEN THE SWIMMERS AND THE CAMERA.
06:22:40 1246.6	SWIMMING POOL AT CONEY ISLAND. EDISON, 1901 THE CAMERA WAS POSITIONED ON THE EDGE OF A LARGE PUBLIC SWIMMING POOL. MANY CHILDREN JUMP IN THE WATER FROM THE EDGE OF THE POOL OPPOSITE THE CAMERA AND SWIM TOWARD THE CAMERA.
06:23:28 1294.6	SWIMMING RACE AT CONEY ISLAND. AM&B, 1904 THE CAMERA WAS POSITIONED ON A SEASHORE. IN THE DISTANCE, THERE IS A SMALL SAILBOAT ON WHICH SEVERAL PEOPLE ARE STANDING. TWO OF THE PASSENGERS ON THE SMALL BOAT DIVE INTO THE WATER AND BEGIN TO SWIM TOWARD THE CAMERA. SPECTATORS IN THE WATER CHEER THE TWO SWIMMERS. THEY REACH THE SHORE, WALK OUT OF THE WATER AND OUT OF CAMERA RANGE. EACH IS WEARING THE INSIGNIA OF THE RED CROSS ON HIS SWIMSUIT.
06:24:07 1333.6	TEASING. AM&B, 1905 THE CAMERAMAN PHOTOGRAPHED OVER THE RIGHT SHOULDER OF A YOUNG WOMAN RECLINING ON A COUCH WHILE REBUFFING THE ADVANCES OF A YOUNG MAN INTENT ON KISSING HER. THROUGHOUT THE FILM, THE YOUNG WOMAN ELUDES HIS ADVANCES. FINALLY, AT THE END OF THE PICTURE, SHE SEEMS TO HAVE ACCEPTED HIS PERSISTENCE AS SINCERE, AND SHE ALLOWS HIM TO KISS HER.
06:24:55 1381.6	TERRIER VS WILD CAT. AM&B, 1906 THIS SHOWS AN ARRANGED FIGHT BETWEEN A TERRIER AND AN ALLEY CAT. DURING THE LENGTH OF THE FILM, THE SPECTATORS HARASS THE ANIMALS TO A POINT WHERE THEY ARE FORCED TO ATTACK ONE ANOTHER.
06:25:46 1432.6	THEATRE HAT - 1897 (?) AM&B, 1903 THE CAMERA WAS POSITIONED AS IF BEHIND THE SEATS OF A THEATRE. IMMEDIATELY IN THE CAMERA FOREGROUND ARE SEVERAL MEN SITTING IN BACK OF A ROW OF WOMEN WEARING ENORMOUS HATS, WHICH OBSTRUCT THE MEN'S VIEW OF THE PERFORMANCE, WHICH SEEMS TO BE A JUMPING CLOWN. AT THE END OF THE FILM, ONE OF THE MEN IS TRYING TO PEER AROUND THE WOMEN'S HUGE HATS WITH A TELESCOPE.
06:26:14 1460.6	THEATRE HATS OFF - 1897 (?) AM&B, 1903 THIS WAS PHOTOGRAPHED AS IF FROM THE AUDIENCE AT A VAUDEVILLE SHOW. BETWEEN THE STAGE AND THE CAMERA ARE THE BACKS AND HEADS OF A NUMBER OF PEOPLE WATCHING A WOMAN DOING AN ACROBATIC TAP DANCE. THE CAMERA DOES NOT MOVE DURING THE FILM, WHILE THE DANCER REMAINS IN ALMOST HER ORIGINAL POSITION AND DANCES UNTIL THE FILM ENDS.
06:26:45 1491.6	THOSE AWFUL HATS AM&B, 1909 THE FIRST SCENE OPENS IN A THEATER AND THE CAMERA IS POSITIONED AS IF IN THE BACK ROW. THERE IS NO ACTION ON THE STAGE OR MOVIE SCREEN. ONE WOMAN ENTERS WITH AN EXCEPTIONALLY LARGE HAT AND BLOCKS THE VIEW OF EVERYBODY SEATED IN BACK OF HER, MUCH TO THEIR ANNOYANCE. THERE IS SOME STOP-ACTION PHOTOGRAPHY THAT MAY NOT HAVE BEEN PLANNED AS SUCH. IN THE FINAL SCENES, THE CLAM SHELL OF A STEAM SHOVEL COMES DOWN FROM THE CEILING AND SNATCHES THE OVERSIZE HAT. THE PICTURE ENDS AS THE CLAM SHELL PICKS UP THE WOMAN AS WELL AS HER HAT.
06:29:13 1639.6	THE TIRED TAILOR'S DREAM AM&B, 1907 THE ACTION TAKES PLACE IN A TAILOR SHOP SET. A CUSTOMER ENTERS AND ORDERS A SUIT AT THE POINT OF A GUN, GESTURING TO THE CLOCK AND INDICATING HE WILL BE BACK IN ONE HOUR. THE TAILOR'S DILEMMA ENDS AT THAT MOMENT. THE CAMERA IS RELOCATED FROM A FULL ESTABLISHING SHOT OF THE SET TO A CLOSE-UP OF A TAILOR'S WORK BENCH. NO PEOPLE CAN BE SEEN AS A COMPLETE SUIT OF CLOTHES IS MADE ON THE BENCH BY THE USE OF STOP-ACTION PHOTOGRAPHY. THE MATERIAL UNROLLS, THE CHALK MARKS, THE SCISSORS CUT, A SEWING MACHINE COMES INTO VIEW AND STITCHES - AND THE SUIT IS ASSEMBLED, PRESSED, AND HUNG ON A RACK IN TIME FOR THE UNREASONABLE CUSTOMER.
06:36:15 2061.6	TRYING TO GET ARRESTED AM&B, 1909 THIS COMEDY IS ABOUT THE MANY UNSUCCESSFUL ATTEMPTS OF A TRAMP (JOHN CUMPSON) TO GET HIMSELF ARRESTED AND INTO JAIL. THE FIRST SCENE SHOWS A MAN DRESSED IN RAGS SITTING ON A PARK BENCH AND ATTEMPTING TO KEEP WARM. SEVERAL COUPLES PASS BY BUT REFUSE HIM AID. THE TRAMP VOWS TO GET SHELTER EVEN IF IT MEANS JAIL, AND HE STARTS OUT BY KICKING A POLICEMAN. INSTEAD OF JAILING HIM, THE POLICEMAN HOLDS HIM AT ARM'S LENGTH AND KICKS HIM REPEATEDLY. THIS BEGINS A SERIES OF SITUATIONS, EACH ENDING WITH THE POOR TRAMP BEING BEATEN OR TROD UPON, BUT NEVER ARRESTED. THE FILM ENDS AS THE TRAMP PASSES A CONSTRUCTION SITE WITH A "MEN WANTED" SIGN IN FRONT, AND A POLICEMAN GUIDES HIM UNCEREMONIOUSLY TOWARD THE EMPLOYMENT OFFICE.
06:40:17 2303.6	THE UNAPPRECIATED JOKE EDISON, 1903 THE FILM BEGINS ON A SET OF THE INTERIOR OF A STREETCAR. TWO MEN AND A WOMAN ARE SITTING ON THE BENCH. ONE OF THE MEN IS READING A RISQUE MAGAZINE AND LAUGHING AS HE TELLS THE MAN NEXT TO HIM WHAT HE SEES. WHILE HE IS LAUGHING RAUCOUSLY, HIS NEIGHBOR LEAVES THE CAR AND IS REPLACED BY A WOMAN WHICH HE DOES NOT NOTICE. AS THE FILM ENDS, THE WOMAN IS WEARING A VERY DISPLEASED EXPRESSION AS SHE KNOCKS HIM OFF THE BENCH. NOTE: IN THE SPACE WHERE ADVERTISING CARDS ARE USUALLY SEEN, ARE CARDS GIVING THE NAMES AND ADDRESSES OF FIRMS THAT SELL EDISON PHONOGRAPHS, RECORDS AND KINETOSCOPES.
06:42:04 2410.6	THE VAIDIS SISTERS, LUNA PARK CONEY ISLAND AM&B, 1903 THE TOPS OF SOME BUILDINGS ARE VISIBLE IN THE BACKGROUND. THE CAMERA WAS ELEVATED SEVERAL STORIES ABOVE THE GROUND. IN THE IMMEDIATE FOREGROUND, CLOSE TO THE CAMERA POSITION, IS A CABLE THAT HAS BEEN STRETCHED ACROSS THE AMUSEMENT PARK MIDWAY FROM THE TOPS OF THE BUILDINGS. SOMEONE HANGING BY THE TEETH FROM A PULLEY ON THE WIRE APPROACHES THE CAMERA AND THE FILM ENDS. NOVELTY ACT.
06:42:25 2431.6	A WINDY DAY ON THE ROOF AM&B, 1904 THE CAMERA WAS PLACED IN SUCH A WAY AS TO MAKE A COMPOSITION OUT OF A SET OF THE EDGE OF A BUILDING ROOF, WHERE A WOMAN CAN BE SEEN HANGING OUT WASH. BELOW THE EDGE OF THE ROOF, A MAN PEERS UP AT HER WHILE PAINTING THE EAVES. THE DIRECTOR, IN ORDER TO ADD ZEST TO THE FILM, HAD THREADS ATTACHED TO THE HEM OF THE WOMAN'S GARMENTS TO MAKE IT APPEAR AS THOUGH THE WIND WAS BLOWING HER SKIRTS AND ALLOWING THE PAINTER TO SEE WHAT HE SHOULD NOT. THE WOMAN HANGING OUT THE WASH SUDDENLY DISCOVERS THE ILLICIT OBSERVER, PICKS UP A BUCKET FILLED WITH SOAPY WATER, AND THROWS IT UPON HIM.
06:43:09 2475.6	AMBROSE'S NASTY TEMPER KEYSTONE, 1915 ANOTHER IN A SERIES OF AMBROSE PICTURES FEATURING LOUISE FAZENDA AND MACK SWAIN (AMBROSE). THIS TIME THE LOCALE IS A GARMENT FACTORY WITH LOUISE FAZENDA AS THE OWNER, MACK SWAIN AS THE MANAGER, DAVE MORRIS AS THE FOREMAN, AND CECILE ARNOLD AS THE OWNER'S LOVELY YOUNG DAUGHTER. THE FILM IS DEVOTED TO RIVALRY BETWEEN MACK SWAIN AND DAVE MORRIS FOR THE HAND OF CECILE ARNOLD, WHICH LEADS TO SEVERAL TRULY RIDICULOUS SITUATIONS.
06:54:29 3155.6	THE WAIF AM&B, 1904 THE OPENING SCENE OF THIS MELODRAMA SHOWS A POORLY FURNISHED TENEMENT ROOM WHERE A BABY IS SEATED ON THE FLOOR. A SHABBILY DRESSED WOMAN ENTERS AND QUICKLY GOES TO A BASKET NEAR THE BABY ON THE FLOOR. SHE BUSIES HERSELF WITH THE BASKET, LIFTS OUT A SMALLER INFANT, WRAPS IT CAREFULLY, PLACES THE INFANT IN ANOTHER BASKET, AND LEAVES THE ROOM WITH THE CHILD. THE CAMERA CHANGES POSITION TO SHOW HER OUT ON THE STREET WHERE IT IS SNOWING. THE WOMAN CARRIES THE BASKET CONTAINING THE BABY TO A WEALTHY NEIGHBORHOOD AND LEAVES IT ON THE FRONT PORCH WHERE IT IS DISCOVERED BY A SERVANT WHO TAKES THE BASKET CONTAINING THE INFANT INTO THE HOUSE. THE NEXT SCENE SHOWS THE HOUSEHOLD AND THEIR SERVANTS LOOKING OVER THE INFANT. NOW THE CAMERA CUTS BACK TO THE ROOM FROM WHICH THE SHABBILY DRESSED WOMAN IS BEING EVICTED. SOME MEN TAKE HER FURNITURE AND HER REMAINING BABY OUTSIDE AND PLACE THEM ON THE SIDEWALK IN THE SNOW. SOON A POLICEMAN COMES BY AND PICKS UP THE INFANT. THE FILM ENDS AS THE MOTHER OF THE CHILD IDENTIFIES HERSELF TO THE POLICEMAN AND TAKES THE CHILD FROM HIM. AM&B PRODUCTION RECORDS SHOW ANOTHER TITLE IN PARENTHESIS. IT IS - OUT IN THE STREET.
07:01:57 3603.6	END