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Actuality Cinema in New York City, 1890S to C. 1905

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Actuality Cinema in New York City, 1890S to C. 1905 A Space and Time Machine: Actuality Cinema in New York City, 1890s to c. 1905 John Walsh, B.A. (Hons) Thesis submitted to the University of Nottingham for the degree of Doctor of Philosophy March 2005 Acknowledgments This study is the product of coming to University relatively late. Accordingly, thanks go to Clarendon College, Nottingham Access Course staff, and to Douglas Tallack, initially as Undergraduate Admissions Tutor, then convenor of ‘Visual Culture in America, 1893-1939’ (an undergraduate module from which this study sprang) but mostly as my supervisor. During the early years of research, a Visual Culture reading group comprising Ben Andrews, Glyn Marshall, Richard Ings and Douglas Tallack was especially influential. Thanks to Douglas Tallack and Anna Notaro for encouraging my involvement in the 3Cities research project. Two University posts undertaken alongside my studies have been influential. Firstly, thanks to former colleagues at the Study Support Centre, and especially Barbara Taylor. Secondly, as the University’s Humanities Technology Officer, working with academics, especially Bernard McGuirk, gave me the confidence to complete this study. Ideas relating to representation and systematisation in New York are indebted to Douglas Tallack. Thanks to the School of American and Canadian Studies for granting a fee waiver. Especial thanks to Rachel Scudamore for intellectual discussion throughout and proof reading in the final stages. Above all, this study would not have been possible without love, encouragement, support and patience from my wife Rachel Scudamore. During the course of this study, my mother passed away. This thesis is dedicated to Elsie Mary Walsh, 1920-1999. Contents Abstract ………………………………………………………………... i Preface …………………………………………………………………. iii 1. Introduction: Seeing More and Disavowing less …….…………… 1 A ‘Cinema of Attractions’..…………….. ……………………… 5 Beginning of a Skyscraper (AM&B, 1902) ……………………. 14 The Temporality of Actuality Cinema ……………….......…….. 29 Methodology ………………………………………..........…….. 50 2. Research Context: Modernity ………………………………… ...... 60 A ‘Full View’ of Brooklyn Bridge ….………………………….. 61 Early Cinema’s Modernity Thesis ………………………..……. 78 Cinema and the Modern: Brooklyn Bridge …………………….. 89 Cinema and the Modern: ‘Reinventing Cinema’……………….. 105 Cultural Modernism in New York: ‘Heliographic Effects’ ……. 115 3. Research Context: Early Cinema …………………………………. 122 Conceptualising Cinema’s Emergence ………………………… 124 The Vitascope Premiere, New York, 24th April, 1896 ………… 134 Rough Sea at Dover : Provoking a Way of Looking …… 142 Rough Sea at Dover : An Unexpected Congruence …….. 148 The Beginnings of New York Actuality Cinema ………..……... 155 Actuality Cinema’s Representational Detour ………………….. 174 4. Early Cinema’s Context: New York City ………………………… 180 ‘Seeing New York Starts from Flat Iron Building’ …………….. 183 Seeing New York: The Flatiron Under Construction ………….. 198 A Filmmaking Logic: Watching Construction …………………. 207 Panorama of Flatiron Building (AM&B, 1902) ……………….. 226 Civic Filmmaking: Edison’s Reform Films ……………………. 234 5. Conclusion: Transitional Actuality Films ……….………………... 241 At the Foot of the Flatiron (AM&B, 1903) ……………………. 245 Panorama From Times Building, NY (AM&B, 1905) ………… 252 Pennsylvania Tunnel Excavation (AM&B, 1905) …...………… 266 The Realisation of the Medium ………………………………… 269 List of Plates and Figures …………………….………………………. 287 Plates …………………………………………………………………... 293 Bibliography …………………………………………………………... 310 Filmography …………………………………………………………... 337 Appendix: The Paper Print Collection …………………………….... 344 Film CD-Rom …………………………………………… inside back cover Abstract Urban actuality films are short, single shot views of street scenes, skyscrapers or construction sites, or views from moving vehicles. They are, typically, regarded as simple filmic snap-shots. Conversely, early cinema is conventionally thought to be a complex hybrid medium, a crucible for the idea and representation of the modern. Through close, contextualised analysis of a series of New York films, this study addresses the discrepancy between the putative insubstantiality of actuality films and the evident complexity of early cinema. A hitherto overlooked historical coincidence of actuality cinema, the modernisation of New York and its intermedial culture is shown to provide both a subject and setting for filmmakers. Actuality cinema is a technology of the present; accordingly, temporality is pivotal for this study. Tom Gunning’s ‘cinema of attractions’ thesis and a neurological conception of modernity posit a familiar shocks-and-jolts axis of the relations between cinema and modernity. In contrast, I argue for an alternative axis, founded in periods, rather than moments, of time and seek to demonstrate cinema’s role as a technology of an expanded present time. Fifteen films of transport systems, skyscraper building sites and ways of seeing New York’s streets, make up the primary source material. In these films, time provides a space for the representation and negotiation of the modern. An expanded present fosters a thickened visuality. Within New York’s intermedial culture, the adoption of stereoscopic visual practices was key to constructing a coherent filmic present, and a place for the spectator within a cinematic world. As a functioning space and time machine, a cinema of simultaneity, the complexity of actuality filmmaking practices increasingly i moved actualities towards, and enabled their interrelation with, an emerging narrative cinema. Rather than a failed experiment, New York actuality cinema is here demonstrated to be an example of cinema working. ii Preface Actuality films: registrations of momentary actuality or expansive re- presentations of simultaneity? The wager of this study is that New York actuality cinema is a complex, sophisticated technology of an expanded present time. In tackling what is a hitherto neglected sub-field of cinema’s history, this intermedial subject asks for an interdisciplinary approach. Parts of this thesis are based on a published essay, ‘The Attraction of the Flatiron Building: Construction Processes’ (Walsh, 2000), itself a product of working alongside a major AHRB funded project at Nottingham and Birmingham: the 3Cities collaborative research project, a study of the visual cultures of three American cities, including New York. James Elkins cites both Nottingham and Birmingham in his account of the field of Visual Studies (Elkins, 2003: 9). Nottingham reading groups, allied to 3Cities, one on Visual Culture and another on Urban Culture, provided an impetus for this study and were noteworthy primers in this burgeoning field. Research should inform teaching and I, at least, have found it helpful to try out some of the readings of the films in upper-level Visual Culture seminars in the School of American and Canadian Studies. More unusually, perhaps, this PhD also emanates from my time as the University’s Humanities Technology Officer, working collaboratively across a number of fields and also internationally, in Brazil, in efforts to combine technology and Humanities research. This visual study is based in visual, historical materials. The research involved studying over 800 films; researching the Brooklyn Daily Eagle and New York Times newspaper archives of the period; and closely inspecting some 800 stereographs and photographs, and over 100 panoramic drawings, lithographs iii and illustrations. From this resource base, 79 films, 59 newspaper reports and 49 stereographs, photographs, panoramic drawings, lithographs and illustrations are cited. Presented within the following chapters are 106 film frames, carefully selected and digitally copied from the 15 actuality films that form the core of this study’s evidential base. These films are available for viewing via the CD-Rom attached inside the back cover. As a product of working with researchers to interrelate technology and research, the films, the frame stills within the text and the Plates (pp293-309) are not intended to be mere illustrations. They are provided, as “points of entry” to, and integral to, the following arguments, a rational offered by John Kasson that expresses my own position quite well (Kasson, 1998: 95). iv Chapter 1 Introduction: Seeing More and Disavowing Less Fig. 1.1 Frame from Lower Broadway (AM&B, 1902) Lower Broadway (AM&B, 1902) is an animated photograph about ways of seeing New York City, a living picture of a thickened present. It is an example of cinema working, a demonstration of the spatial and temporal capabilities of the moving picture machine. Stereo photographer, Robert Kates Bonine, positions his camera facing northward, at a busy junction on Broadway opposite Trinity Church, so that streetcar traffic intersects with the lower left corner of the frame, and travels to and fro. The filming is precisely timed to coincide with a group of cars which travel into the depth of the frame. Street depth and streetcar time correspond in this representation of the new relations of space and time in a distinctly new urban environment. Bonine’s film is a knowing depiction of the urban, visual issues brought about by modernisation. For example, the view of the relative size of the streetcars, as they recede into the distance, is a device for enhancing apparent depth, for creating a world on screen which corresponds with the experience of Manhattan’s streets. Bonine’s footage is a form of actuality, or non-fiction, film which is from a side of early cinema that can usefully be thought
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