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Motion Pictures 1894 to 1912

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From the collection of the o Prefingep ^ - V Jjibrary t vv P San Francisco, California 2007 Digitized by tine Internet Arciiive in 2007 witii funding from IVIicrosoft Corporation http://www.archive.org/details/motionpict18941912librrich Motion Pictures 1894-1912 Motion Pictures 1894-1912 Identified from the Records of the United States Copyright Office by Howard Lamarr Walls o 953 COPYRIGHT OFFICE i!V THE LIBRARY OF CONGRESS L. C. card, 53-60033 For sale by the Register of Copyrights, Library of Congress, Washington 25, D. C. Price J2 Copyright Office - The Labrary of Congress MOTION PICTURES. 1894-1912 Page 1 ERRATA AND ADDENDA 71 The following lists of corrections and additions to Motion Pictures . 1894-1912 have been compiled by the staff of the Copyright Office from information gathered and generously contributed by Miss Eliz- abeth Franklin of the Academy of Motion Picture Arts and Sciences during the course of twosununers' work on the paper print collec- tion of the Library of Congress. The corrections cover both typo- graphical errors and variances between information on the paper prints and in the record books of the office. Mr. Howard L. Walls was limited to the record books in making his original selection. Most of the additions consist of films not readily identifiable as such from the record book entries, since before 1912 motion pic- tures were registered simply as photographs. date January 9, 1894, ERRATA Belshazzar, copyright Page Page /enty-four motion pic- 16 DISCOVERIES OF BODIES. For DISCOV- 29Augl900: D18581. Registration number ERIES read DISCOVERY. should be D18582. ss J, photographs, be- 23 GIRLS SWIMMING. For SWIMMING read 48 PRESIDENT MCKINLEY. Should be PRES- ; effective date of the SWINGING. IDENT MCKINLEY LEAVING OBSERVA- TORY, MT. TOM, HOLYOKE, MASS. law estabHshing classes 32 LAS VEGAS [i.e., LA VIGA] CANAL, MEX- ICO. For LAS VEGAS read LAS VIGAS. 50 REILY'S LIGHT BATTERY F. For REI- end of the year 1913. LY'S read REILLY'S. 32 LAS VEGAS (i.e., LA VIGA) CANAL, MEX- ctures are listed in this ICO CITY. For LAS VEGAS read LAS 51 REVIEW OF CADETS, WEST POINT. VIGAS. © American Mutoscope & Biograph Co.; 8Julyl903; H33283, H33387. Second reg- 34 LITTLE LILLIAN, TOE DANSEUSE. Omit istration number should be H33287. viduals and organiza- TOE. 54 SCENE IN THE SWISS VILLAGE AT PARIS duction of motion pic- 38 MINING OPERATIONS, PENNSYLVANIA EXPOSITION. © Thomas A. Edison; FIELDS. For PENNSYLVANIA FIELDS 29Augl900; D18582. Registration number ;riod was essential to read PENNSYLVANIA COAL FIELDS. should be D 18581. )ictures of works regis- 42 OLD GENTLEMAN SPRINKLES. For 60 lOTH U. S. INFANTRY, AND BATTALION Office. SPRINKLES read SPINKLES. LEAVING CARS. For AND read 2ND. >opyright Mr. ike this selection. He 45 PANORAMIC VIEW OF THE CHAMPS 64 AN UNEXPECTED FEMALE. Should be ELYSEES. © Thomas A. Edison; AN UNPROTECTED FEMALE, N0.2. vlotion Picture CoUec- ADDENDA ition Picture Arts and .8 for several years on AN AFFAIR OF HEARTS. © Biograph Co.; CASEY AND HIS NEIGHBOR'S GOAT. 23Mayl910; J141593. © Thomas A. Edison; 3Octl903; H3650I. )ffice and during that ATLANTIC CITY FLORAL PARADE. THE CHARIOT RACE. © Kalem Co.; ecords of early motion © Percival L. Waters; 22Junel904; H47449. 22Novl907; H102798. : files of the Office, in- THE AUTO-SOMNAMBULIST © Winthrop CHEST AND NECK DEVELOPMENT. Press; 18Aprl906; H75818. © Winthrop Press; 18Aprl906; H75807. ich were def)osited at BEFORE THE BALL. © Winthrop Press; CLOWN JUGGLER. © Winthrop Press; F many of these motion 18Aprl906; H75820. 6Septl906; H82617. Curator of the Motion BOLD BANK ROBBERY © Lubin Mfg. Co.; THE COLONEL'S FRIEND. © Frank Graham; 25JiUyl904; H48436. 12Julyl905; H63I57. 3rary of Congress and Motion Picture Divi- February 1956 de, long and intensive ADDENDA Cont'd. DAD'S A GENTLEMAN TOO. © Frank NEW YEAR'S TOAST. © Winthrop Press; Graham; 12Julyl905; H63156. 22Mayl906; H78022. DEEP BREATHING AND CHEST EXPANSION, NEW YORK CITY PUBLIC BATH. © Thomas e Wlnthrop Press; 18Aprl906; H7S806. A. Edison; 3Octl903; H36497. DEVELOPING MUSCLES OF BACK AND THE OATH AND THE MAN. © Biograph Co.; CHEST. © Winthrop Press; 18Aprl906; 26Septl910; J145784. H75812. PARADE, FIFTIETH ANNIVERSARY ATLAN- DEVELOPma MUSCLES OF CHEST AND TIC CITY, N. J. © Percival L. Waters; ABDOMEN. © Winthrop Press; 18Apr1906; 22Junel904; H47450. H75808. PENNSYLVANIA MONUMENT AT FORT MA- DIAL'S GIRLS' BAND, LUNA PARK. HONE NEAR PETERSBURG, VA. © Colum- © Eugene Dial; 25Octl905; H67888. bia Photograph Co. ; 18Decl909; J136000. DREAM OF THE RACE TRACK FIEND. THE PHYSICAL CULTURE GIRL. © Thomas © American Mutoscope & Biograph Co.; A. Edison; 3Octl903; H36499. 6Octl905; H67066. POKER IN THE WEST. © Winthrop Press; EAST SIDE URCHINS BATHING IN A FOUN- 18Aprl906; H75814. TAIN. © Thomas A. Edison; 3Octl903; H36495. RECEPTION OF PRESIDENT TAFT IN PETERSBURG, VIRGINIA, MAY 19TH, 1909. EPILEPTIC SEIZURE NO.S. I Walter G. © Columbia Photograph Co.; 29Julyl909; Chase; 13Janl906; H71845. J129814. EVERYB<M)Y WORKS BUT MOTHER. A ROMANCE OF THE RAIL. © Thomas A. © Winthrop Press; 22Mayl906; H78024. Edison; 3Octl903; H36500. THE EXTRA TURN. I Thomas A. Edison; SERIOUS SIXTEEN. © Biograph Co.; 3Octl903; H36496. 23Julyl910; J143502. A FAIR EXCHANGE. © Biograph Co.; SHE WAS GOOD TO HIM. © Winthrop Press; 22Septl909; J132094. 18Aprl906; H75805. GAME OF CHESS. © Winthrop Press; SUBSTITUTE FOR SMOKING. © Winthrop 18Aprl906;H7S815. Press; 18Aprl906; H75819. GOLD IS NOT ALL. © Biograph Co.; TAKING HIS MEDICINE. © Winthrop Press; lAprl910; J139986. 18Aprl906; H75816. GOCX> NIGHT. © Winthrop Press; 18Aprl906; THREE OF A KIND. © Winthrop Press; H75817. 6Septl906; H82616. GOODBYE JOHN. 70 mm. © Winthrop Mov- THROUGH THE BREAKERS. © Biograph Co.; ing Picture Co.; 24Mayl907; H94484. 8Decig09; J135642. THE GREAT TORONTO FIRE. TORONTO. TRYING IT ON THE DOG. © Winthrop Press; CANADA. APRIL 19, 1904. © George Scott 6Septig06; H82619. h Co.; 27Mayl904; H46445. THE TWO BROTHERS. © Biograph Co.; HAVE A LIGHT, SIR. © Winthrop Press; 14Mayl910; J141292. 22Mayl906; H78023. TWO CHAPPIES IN A BOX. © Thomas A. HERE'S TO THE PRETTIEST. © Winthrop Edison; 3Octl903; H36498. Press; 18Aprl906; H75811. TWO LITTLE WAIFS. © Biograph Co.; HIS LAST BURGLARY. © Biograph Co.; 3Novl910; J147286. 26Febl910; J138678. THE TWO PATHS. © Biograph Co.; 4Janl911; IRISH REEL. © Winthrop Press; 6Septl906; J150122. H82614. UNEXPECTED HELP. © Biograph Co.; IT WAS COMING TO HIM. © Winthrop Press; 30Julyl910; J143826. 18Aprl906; H75810. WHITE STAR S. S. BALTIC LEAVING PIER KISSES SWEET. © Winthrop Press; ON FIRST EASTERN VOYAGE. © Thomas 22Mayl906; H78021. A. Edison; 16Julyl904; H48202. MARRIED FOR MILLIONS. © American Mu- WILLIE'S FIRST SMOKE. © Thomas A. toscope & Biograph Co.; 26Decl906; H88152. Edison; 4Febl899: 10649. MR. BUTT-DJ-SKY. © Winthrop Press; YOU WON'T CUT ANY ICE WITH ME. 18Aprl906; H7S809. © Winthrop Press; 18Aprl906; H75813. Table of Contents Page Motion Pictures, 1894-1912 1 Claimant Index .... 71 Foreword Motion Pictures, 1894-1912, is a catalog of those January 7, 1894, copyright date January 9, 18! copyrighted works identified as motion pictures by and the last is the Feast of Belshazzar, copyrig Howard Lamarr Walls which were produced dur- date January 23, 1913. Twenty-four motion p ing the pioneer period of the motion picture indus- tures were registered in Class J, photographs, 1 try. Inasmuch as this catalog includes informa- tween August 24, 1912, the effective date of t tion supplied by Mr. Walls which does not appear amendment to the copyright law establishing clas in the records of the Copyright Office, it is not con- for motion pictures, and the end of the year 19 sidered a part of the regular Catalog of Copyright These twenty-four motion pictures are listed in t Entries, Cumulative Series. It supplements, how- catalog. ever, the two volumes in the Cumulative Series, Familiarity with the individuals and organi Motion Pictures, 1912-1939 and Motion Pictures, tions connected with the production of motion p 1940-1949. These three volumes, together with tures during the pioneer period was essential the current issues of the Catalog of Copyright En- the identification as motion pictures of works reg tries, Third Series, Parts 12-13, Motion Pictures tered as photographs in the Copyright Office. ^ and Filmstrips, comprise an unbroken record of the WaUs is uniquely fitted to make this selection, copyright registration of motion pictures and, also, is at present Curator of the Motion Picture Coll an extensive although incomplete record of motion tion of the Academy of Motion Picture Arts a picture production in the United States through the Sciences. Previously he was for several years entire history of the industry. the staff of the Copyright Office and during tl The catalog lists 8,506 works, representing ap- period was interested in the records of early moti proximately 6,000 titles, which were registered in pictures which existed in the files of the Office, the Copyright Office as photographs and identi- eluding the paper prints which were deposited fied as motion pictures by Mr. Walls. In making the time of the registration of many of these moti this identification, the record books in the Copy- pictures. Later he became Curator of the Moti right Office were searched for the years 1893 Picture Collection of the Library of Congress a through 1913. The first such registration found Reference Assistant in the Motion Picture Di is the Edison Kinetoscopic Record of a Sneeze, sion. He has had, therefore, long and intens experience in working
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  • 1980-04-01.Pdf (3.1MB)

    1980-04-01.Pdf (3.1MB)

    • News 3 Nothing in the least interesting, infor­ Cry Rape! mative, or that hasn't already been covered in the HOYA We have been raped. Arts 9 The Voice is very much like a woman: proud, sen­ A review of a play that closed two sitive, very aware of it's rightful place in the world. We weeks ago; a pretentious and verbose critique of an album that no one is go­ even run on our own cycle. But, unlike a woman, we ing to but anyway have a sense of honor, and that sense of honor has been . sullied by the shocking act that resulted in the theft of Cover 10 this newspaper, whose monetary value is approximately A last-ditch attempt to get people to get people to pick up our newsmagazine 1200 dollars. But the issue is not money, but rape. We in spite of the cliche-ridden prose and demand satisfaction, and, aga,in like a woman, we pro­ non-sequitor commentary. Behind bably won't get it. Sports II The facts in the case are simple. We work hard all Now that the basketball season is week gathering the news, sports, and features that you over, pretty lean pickings. Reports on see tastefully presented in our pages. Monday night we minor sports that get almost no funding theLinM and lose all the time. take what we in the newspaper business call "flats", worth around 1200 dollars, to our printers, the Nor­ C.S. Lewis once said that thern Virginia Sun. Sometime between nine and nine­ "You always hurt the one you eleven, the flats, (worth over a thousand dollars), were Board 0/ Worth love", and he almost certainly agree that, at least at Georgetown found to be missing, searched for, declared officially Mark Whimp.
  • Choices Made

    Choices Made

    CHOICES MADE CHOICE MADE A Memoir by David T. McLaughlin with Howard J. Coffin HANOVER NEW HAMPSHIRE 2007 THIS PUBLICATION HAS BEEN BROUGHT ABOUT THROUGH AN INITIATIVE BY AND THE ONGOING ENCOURAGEMENT OF Frederick B. Whittemore ALSO CENTRAL TO PROJECTION OF THE BOOK HAVE BEEN Berl Bernhard, John L. Callahan Jr., and Mona M. Chamberlain AND OVERALL PREPARATION HAS BEEN COORDINATED BY Edward Connery Lathem Copyright © 2007 by Judith Landauer McLaughlin TITLE-PAGE ILLUSTRATION: DAVID T. MCLAUGHLIN in the entryway of the President's Office at Dartmouth College —1984 Photograph by Nancy Wasserman CONTENTS Introduction • vii 1: Doing the Right Thing • 3 2: The Beginning 1 • 14 3 : Formative Values • 25 4: The Test • 34 5: Service • 43 6 : The Beginning 11-50 7: Knowing When to Leave • 60 8: Knowing When to Arrive • 72 9: Transition • 90 10 : Hard Choices • 103 11: Pomp and Ceremony • 114 12: Priorities • 130 13: Reality 1 • 140 14: Reality 11 • 153 15: Using Authority • 169 16 : Providing for the Future • 187 17: Below the Line • 199 18 : Life Goes On • 208 Chronology • 225 Index • 229 BY WAY OF PREFACE AT his death in 2004, David McLaughlin left behind the text here pub- JLJL lished. In a statement he drafted regarding the nature of his projected volume, he characterized what had been written by him and his collabora­ tor as being "a personal memoir, one focusing centrally upon my relation­ ship during more than half a century to my alma mater, Dartmouth Col­ lege." However, it was of course, he emphasized, "not intended as a history of the college during the time discussed." He then went on to indicate that what had been produced was also, essentially, "about institutional gover­ nance within the context of higher education"—declaring: "It is hoped that this publication may serve to inform boards of trustees about certain criteria that can be employed in choosing presidential succes­ sors.