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Updated: June 13, 2025
The crowd in front of the post-office was a hundred feet wide and two hundred feet long, looking at the pictures from the kinetoscope pictures of men going to work in mills and factories; pictures of the troops unloading on the coast of Cuba; pictures of the big warships sailing by; pictures of Dewey's flagship coming up the Hudson to its glory; pictures of the Spanish ships lying crushed in Manila harbour.
Pictures were taken by the kinetoscope showing an ascent of Mount Blanc, the operator of the camera necessarily making the perilous journey also; different stages of the ascent were taken, some of them far above the clouds. For this series of pictures a film eight hundred feet long was required, and 12,800 odd exposures or negatives were made.
The earliest form of exhibiting apparatus, known as the Kinetoscope, was a machine in which a positive print from the negative obtained in the camera was exhibited directly to the eye through a peep-hole; but in 1895 the films were applied to modified forms of magic lanterns, by which the images are projected upon a screen.
The figures seem to move, as in the Kinetoscope, or its forerunner the Wheel of Life: the Mozartean opera, when most dramatic, is a musical Wheel of Life. Gounod possessed neither Mozart's tact nor his fiery energy.
Our guardian angels of to-day must be as clearly seen and nobly hewn. A double mental vision is as fundamental in human nature as the double necessity for air and light. It is as obvious as that a thing can be both written and spoken. We have maintained that the kinetoscope in the hands of artists is a higher form of picture writing.
Like the moving pictures of the kinetoscope when the reels are reversed, is the picture that imagination can unroll if we grant the possibility of a lapse from civilization to savagery. And so when we take the broader view, we quickly see that, in spite of our pessimism, we are doing something in the world.
So it was that for upward of an hour while the train carried her swiftly back to the City, Lloyd sat quietly in her place, watching the landscape rushing past her and cut into regular divisions by the telegraph poles like the whirling pictures of a kinetoscope.
In America, which in most recent times has become the classical land of the moving picture production, the history may be said to begin with the days of the Chicago Exposition, 1893, when Edison exhibited his kinetoscope. The visitor dropped his nickel into a slot, the little motor started, and for half a minute he saw through the magnifying glass a girl dancing or some street boys fighting.
And the two men looked at the screen before them, just as the backward sway of the crowd had ceased and horror was finding a gasping voice upon the lips of the women; for there, walking as naturally as life, out of the background of the picture, came David Lewis with his dark sleeves rolled up, his peaked army hat on the back of his head, a bucket in his hand, and as he stopped and grinned at the crowd between the lightning-flashes of the kinetoscope they could see him wave his free hand.
This idea, the germ of which came from the little toy called the Zoetrope and the work of Muybridge, Marey, and others, has now been accomplished, so that every change of facial expression can be recorded and reproduced life-size. The kinetoscope is only a small model illustrating the present stage of the progress, but with each succeeding month new possibilities are brought into view.
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