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o£@)Cicnce 43
interest in the period from 1902-1906 that created the organization of what is now known as the Motion Picture Patents Company.
On June 10, 1908, this company was formed with the combined American manufacturers, namely, the Edison, Vitagraph and Biograph, of New York and Orange, N. J.; Lubin, of Philadelphia; Essanay and Selig, of Chicago ; Kalem and Melies, of New York, and George Kleine, of Chicago, who controlled then the Gaumont and Urban Eclipse output for this country. The Pathe Freres were already strongly entrenched in the American market, and of course were included in the combination, which as an entity was about as formidable an amalgamation as this country had knovi^n up to that time, and the vaudeville managers concluded that one of the objects of the amalgamation was to prevent the use of its product in the theatres where vaudeville was the basic attraction. It was commonly reported that a measure was to be adopted forbidding the service of film in cooperation with vaudeville acts. Also it was claimed that the so-called "trust" had so fixed things that foreign manufacturers of film could obtain no footing in this country.
Such was the state of affairs in 1908, when a contract was placed before the members of the so-called Film Rental Association. This contract, duly signed, placed the Motion Picture Patents Company in the position of controlling 98 per cent, of the film output, a condition that caused the United Vaudeville interests of the country to look after their welfare. Murdock immediately formed the International Projecting and Producing Company. This was within forty-eight hours after the formation of the Patents company.
Before the ink was dry on the signatures of the Film