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THE GENESIS OF THE EDUCATIONAL FILM
search of the scientist for a better way of understanding movement in nature.
Although Marey raced ahead in his work, substituting an endless band of sensitized paper for his bulky plate in 1888, work was not standing still on this side of the Atlantic. Thomas Edison was also at work on the problem, but not necessarily for the same reasons. However, to both Edison and Marey, the action camera still had one fundamental weakness— the heavy and bulky plates, or the unsatisfactory paper base. Within the next year the means was given to them by Hannibal Goodwin and George Eastman — the flexible celluloid base upon which a photographic emulsion could be placed— and the basic motion picture camera was ready to go to work. Edison's Kinetograph and Marey's Chronotograph now photographed movement at the photographer's will.
The Search for a Viewing Instrument
As good as the action camera was in 1889, Edison, Marey, and all the others working simultaneously on the problem, still were dissatisfied with the available means of viewing the photographs which their cameras took. Although Emile Reynaud had projected action drawings before groups in Paris as early as 1890 with his Praxinoscope, the viewing of action photographs was still on an individual basis. Marey viewed his photographs in the familiar Zoetrope, but Edison had perfected an individual viewer which gave better results, and which he had patented in 1891 as his Kinetoscope. No matter what the device, the viewing of motion picture photography was still on a "peep-hole" basis, limited to the individual viewer, thus challenging the minds of men to devise a means of exhibiting these moving pictures to groups.
The period 1889 to 1894 can well be called the gestation period of the motion picture industry. In the year 1889 all the components were at hand; in 1895 birth took place. Not until this occurred could the motion picture become a medium for mass education or entertainment. The problem of froject