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.
A MARRIAGE AND A PARTNERSHIP 79
New York. Thomas A. Edison, interviewed next day on the subject of this new sensation, called the Lathams infringers of his patents. As for projecting moving pictures onto a screen — he had done that himself. ‘‘But there’s no commercial future in it,” said Edison. Next month the Lathams opened on Broadway the first real screen show. The programme included Carmencita, the dancer, and a brief episode of a boy teasing a man on a park bench.
Little by little, such inventors as Armat, Woodville Latham, and Edison in America, Paul and Lumiere in Europe, were improving that imperfect instrument, the projector. By 1896, Thomas A. Edison, persuaded tardily that the screen was the thing, had put out his new machine, the “vitascope”; and Lumiere had devised for France a projection even better.
That same year, vaudeville saw the possibilities of the screen. In April, Koster and BiaTs Music Hall at Herald Square, New York, ended its programmes with a vitascope show; the subjects included a fragment of Hoyt’s farce, A Milk-White Flag, a pair of dancing girls, and the surf breaking against the chalk cliffs of Dover. It shared the honours of the theatrical week with Albert Chevalier, who made his first American appearance on the same programme. A little later, Vitascope added a street scene in Herald Square, The Arrival of the Black Diamond Express, and a parade of the New York mounted police. Lumiere’s cinematograph, which had similarly