We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
NEARLY 100 DIE IN WRECK OF CRACK PENNSY TRAIN
>ui'«r. — — -* 98 OR MOdf huR' ■utvm 1 .in V 1 t\ai INFRANKFORL '."fc A M
i
-V' Jjfr,r
1 ^yJ/BEEmVS.
Scenes from George Burnwood's 16mm. movies of recent Pennsylvania rail tragedy which scooped the newsreels by two days.
I SCOOPED
THE NEWSREELS..!
B y
C E O R C E
• To old readers of Home Movies, George Burnwood's name is familiar. Burnwood is something of a home movie pioneer, haling owned one of the first Cine Kodaks; was one of the first to explore and develop home processing; and
BURNWOOD
organizer of one of the earliest amateur cine clubs. In the following article, Burnwood tells how he recently scooped the Newsreels in filming \6mm. motion pictures of one of the nation's most tragic railway accidents. — Editor.
T,
HE whole country was suddenly shocked when late in the evening last Labor Day, the nation's radios carried the news that the Congressional Limited, crack luxury train operating between Washington and New York City, had crashed in the yards of Frankford Junction in Pennsylvania, killing ioo persons.
As the evening progressed and magnitude of the disaster became 1 fully apparent, appeals went out for blood donors, private cars to be used I in ambulance service, and for weldI ers to cut away the twisted wreckI age imprisoning hundreds of B maimed temporarily beyond rescue. H It was a rare, though awful on
• George Burnwood, member 8-14 Movie Club of Philadelphia, used DuPont sound recording positive in shooting the rare account of rail tragedy which reached the screens ahead of nation's newsreels.
the-spot news subject for motion pictures.
The thought had scarcely entered my mind when my telephone rang. The local Western Union operator announced she had a telegram to read to me, sent by Lisle Conway of the Syracuse Movie Makers. "Want footage of train wreck," it read, "your processing; want to scoop theatres."
This may be cited as an indication of the spirit of cooperation and friendliness that has been promoted among movie amateurs who read Home Movies. I have never had the pleasure of meeting personally Mr. Conway, although most movie makers in Philadelphia are aware of the aggressiveness of the Syracuse club and its members with whom we have exchanged club films, recordings, etc. I feel that we are old friends and therefore, I lost no time in setting about to oblige with the filming assignment.
I slept very little that night for I planned to arise early and be at the scene of the wreck about sunrise. Arriving at Frankford Junction early next morning, I walked right into the center of things with my camera and equipment conspicuously ready for action. I was immediately ordered off the premises by the railroad's private police who gently but firmly informed me that no picturemaking of any kind would be permitted on the company's property.
I soon found this applied not only to me, but to press photographers and official newsreel men as well. Down the street from the yards, I bumped into Jimmy Seeley, Metro-Goldwyn-Mayer's News-of-the-Day cameraman — one of the best in the business, as everyone knows who saw his exclusive telephoto • Continued on Page 422
404