James H. White

Porter's sequential continuity editing links several shots to form a narrative of firemen responding to a house fire. They leave the station with their horse drawn pumper, arrive on the scene, and effect the safe rescue of a woman from the burning house. But wait, she tells them of her child yet asleep in the burning bedroom...

Porter's sequential continuity editing links several shots to form a narrative of the famous fairy tale story of Jack and his magic beanstalk. Borrowing on cinematographic methods reminiscent of 'Georges Melies' , Porter uses animation, double exposure, and trick photography to illustrate the fairy's apparitions, Jack's dream, and the fast growing beanstalk.

“The watchful father disturbs a dream of bliss, and the bucolic lover is taught a lesson. He made a great hit.” (Edison film catalog)

“The watchful father disturbs a dream of bliss, and the bucolic lover is taught a lesson. He made a great hit.” (Edison film catalog)

“A marvelously clear picture taken from the top of the elevator of the Eiffel Tower during going up and coming down of the car. This wonderful tower is 1,000 feet in height, and the picture produces a most sensational effect. As the camera leaves the ground and rises to the top of the tower, the enormous white city opens out to the view of the astonished spectator. Arriving at the top of the tower, a bird's eye view of the Exposition looking toward the Trocadero, and also toward the Palace of Electricity, is made, and the camera begins its descent. The entire trip is shown on a 200-foot film. 30.00. We furnish the ascent in 125 foot film.” (Edison film catalog)

“A clever characteristic dance called the 'Yellow Kid.' Very unique. Stage is in the Sutro Baths, San Francisco, Cal., and the audience is composed largely of bathers.” (Edison Catalog)

From the upper windows of a ruined mill Cubans are firing at a scouting party of Spaniards, who return the volley. Fine smoke effects.

Four men each hold a large slice of watermelon, and have a race to see who can finish eating first. All four move quickly, but one man seems to be pulling ahead of the others. Soon the contestants begin to hinder one another's efforts.

The wharf is crowded with live stock, and the huge derrick slowly drops the large box or sling into the bunch. Into this cradle a horse is led, and is slowly hoisted and swung over to the deck of the steamer. This picture is taken ten minutes before sailing time.

A line is shot to the man clinging to the overturned boat. He fastens it to his body using all his fast failing strength. The crew pull him through the surf to the shore, where he is rolled and patted and worked over until resuscitated.

From Maguire & Baucus catalogue: A most amusing and life-like scene, in which a number of young ladies clad in their night robes, are seen engaged in a midnight frolic.

Two men have a contest to see which one can be the first to eat a large slice of watermelon.

Branding calves in 1898.

Another Edison film shot in San Francisco at the Fisherman's Wharf. Once again the camera is looking down on a group of men doing their jobs.

White’s camera offers several 360-degree pans of views of the fairground, then amazes by tilting up and down the Eiffel Tower, and concludes with a stunning tracking shot to the highest point above Paris. Exhibitors freely grouped films into nascent narratives such as those displayed here. - Bruce Posner

White’s camera offers several 360-degree pans of views of the fairground, then amazes by tilting up and down the Eiffel Tower, and concludes with a stunning tracking shot to the highest point above Paris. Exhibitors freely grouped films into nascent narratives such as those displayed here. - Bruce Posner

A fellow in a wide-brimmed hat, with a willowy stick for a rod and a baited hook, sits down on a plank hanging over a bridge above a stream. He sticks the rod under his seat and picks up his bottle to take a swig. Behind him creeps a joker who removes the large flagstone that's holding the fisherman's plank in place.

A fellow in a wide-brimmed hat, with a willowy stick for a rod and a baited hook, sits down on a plank hanging over a bridge above a stream. He sticks the rod under his seat and picks up his bottle to take a swig. Behind him creeps a joker who removes the large flagstone that's holding the fisherman's plank in place.

“A comic subject, clear, bright and characteristic. Shows four girls in their night dresses, engaged in an animated pillow fight. During the action the pillows become torn, and the feathers fly over their heads and about the room in great numbers, producing with the white dresses and the black background a novel effect. Sharp, full of action, and popular in character.” (Edison Catalog)

The film opens showing the native daughters mounted on horses.

The Buffoons are artists in their line. They tumble in and out of trick doors, disappear and reappear in unexpected places in most unexpected ways. Sure to amuse the children.

"The main feature is the toboggan slide. Some sit down while others lie down, either head or feet first."

"On the way to San[ta] Monica, Cal., the train approaches, runs through and emerges from a tunnel. Train passes in opposite direction. Camera is at front end of train, giving a very novel view."

From Edison films catalog: A long line of horses, mules and ponies are led, driven and ridden into the yards, where they are sold and distributed.

Selection of hand-painted films made from serpentine dance performances between 1895 and 1907, with original music by Carol Robinson. Produced for ARTE / Lobster Films.

This holiday-themed melodrama released by Edison Studios in 1910 concerns Robert, a young man who leaves his mother’s home in New England to forge a career in the big city. When he achieves “fame and fortune” six years later, his proud mother can’t wait to welcome him home for Thanksgiving. Robert, however, intends to stay in the city to enjoy a holiday feast with his society friends and beautiful fiancée. When Mom decides to pay a surprise visit on Thanksgiving Day, she is saddened to find that her son is so ashamed of her that he relegates her to an upstairs room, out of sight and out of mind.