Motography (Apr-Dec 1911)

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?0 MOTOGRAP H Y Vol. VI, No. 1. Film Serves as Historical Document Canned drama, having survived the jeers of the envious theatrical manager and the skepticism of the scientific doubter, has long since taken its place as an established factor in amusement and education; it has remained for Chicago, in this year of grace 1911, to declare official allegiance to "canned history" as a means of handing down her records to future generations. A moving picture film of the new Chicago & Northwestern station was sealed in a glass jar and placed in the archives of the Chicago Historical Society, in the society's building at Dearborn avenue and Walton place. With it there will be filed away a typewritten statement of the exact time and place of the making of the film, a description of the instrument with which the picture was taken and an accurate set of directions as to the kind of mechanism and materials to be used for its projection. Seventeen years' experience with the celluloid films used in moving picture machines has shown that if a film is kept from contact with the outside air, in even temperature and in a slightly moist atmosphere such as that of a dry cellar, it may be preserved in perfect condition for a practically indefinite time. It is planned that the film to be sealed up this week shall not be opened until 1936. Its pictures may not be reproduced for a century — they may never be reproduced. But in any case the little glass jar will contain a vivid, representative record of the Chicago of 1911 such as no amount of written records or ordinary photographs could supply. Except for certain films in the possession of the United States government this is probably the first official record of its kind in America. The idea originated in the fertile brain of a representative of Lyman H. Howe, a pioneer exhibitor of moving pictures ; it was submitted to the executive officials of the Chicago Historical Society and approved by them enthusiastically. The Northwestern station, just completed, was selected as the most representative available type of Chicago architecture. One morning, through the courtesy of the Essanay Film Manufacturing Company — none of the Howe operators being in Chicago — a camera was set up just beyond the Madison street bridge and a film some twenty-five feet in length was taken in the course of a few minutes. In making the record an effort was made to include as much as possible of the "action" going on in the streets about the building — the moving crowds on the sidewalks, showing how men and women dressed in 1911, the street cars, automobiles, wagons, and other vehicles of various kinds; the overhead trolley and telephone wires (which the conduit system will probably supersede in a few years), the street-lighting appliances, and the like. Thus, in one of ,the films shown, four methods of locomotion— electricity, gasoline, horse power and "shanks' mare" — are shown side by side. While the film was being reeled off a curious youngster planted himself in front of the camera and provided an excellent record of his somewhat baffled emotions. These and many other lights and shades of the characteristic Chicago of the early twentieth century are now at the disposal of the Chicago Historical Society for all time. By the magic of science the people of 2011 will be able almost literally to turn back the hand of time and view Chicago and Chicagoans as they lived and moved in 1911. Only the colors are lacking, and it is possible that they will be supplied. Motion Pictures at Public Playgrounds The motion picture first became popular, of course, as an entertainer. Then it was pressed into service as a vice crusader, a teacher of sanitation, an advocate of disease prevention. Now, such are the expanding possibilities of a good idea, the moving picture is proposed as an aid in the school room and on playgrounds. It is Thomas A. Edison, the author of many valuable suggestions, who now proposes to make the moving picture the school teacher's assistant. It is Director Lea of the department of public service in Cleveland who suggests its use as an adjunct to public playgrounds. Edison argues that pupils who rebel against dry statistical tables and prefer never to learn geography rather than study it by the means familiar to boy and girlhood for generations, will heartily approve of it when presented in this way. Instead of teaching by maps and printed descriptions the location and physical characteristics of a South American country, for instance, he would have photographs from the country itself thrown on a screen in the school room for the edification of the pupils. In that way, he believes, young Americans will "take to" geography as they do to swimmin' holes. Will pedagogues indorse this inventor's suggestion? Or will they argue that the mental drill acquired in learning geography in the old way is what geography was designed for, and that any easy road to knowledge is to be avoided as deceptive? But it is doubtful if Edison cares what the pedagogues think. As to the director's idea of making playgrounds more attractive and beneficial, it will at least bear study. — Cleveland Plain Dealer. Los Angeles Exhibitors in Fuss with City Representatives of the moving picture men were out in force recently to object to some of the provisions of the proposed ordinance regulating the conduct of moving picture theaters, which was up for discussion by the legislation committee of the city council. After hearing lengthy arguments by both the moving picture men and representatives of the Los Angeles Civic Association, the question of adopting the ordinance was taken under advisement. The matter was brought to the attention of the council by the civic association, which asked for a board of censors to pass upon all productions, and that the theaters be placed under the jurisdiction of the police commission, which should have the power to revoke permits for violations of the ordinance. This latter provision was the object of attack by the theater proprietors, most of whom agreed that censorship was needed. They complained that they already are so hedged about with restrictions as to the age limit of children permitted to enter the theaters, standing in the aisles, lights over exits and other minor provisions that it was almost impossible to keep from technically violating the present regulations frequently. They feared that the commission might follow the recommendations of the board of censors and revoke or suspend permits for technical or unavoidable violations of the law. They argued that the clause providing fines for violations would be a sufficient deterrent to prevent proprietors from willfully disobeying the law.