Charles Musser - Before the nickelodeon: Edwin S. Porter and the Edison Manufacturing Company
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Before the nickelodeon: Edwin S. Porter and the Edison Manufacturing Company
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Musser takes us into the long-forgotten world of early cinema--unexpectedly sophisticated and yet radically different from current movie-making. Focusing on Edwin S. Porter, most often remembered as the producer of The Great Train Robbery, Musser situates Porters achievements within the vibrant context of turn-of-the-century popular culture and the commercial pragmatics of the Edison Manufacturing Company--the leading American film-producing entity from 1894 to 1908.
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The UCLA Film and Television Archive Studies in History, Criticism, and Theory
Page i
Before the Nickelodeon
Page ii
Edwin S. Porter (1870-1941)
Page iii
Before the Nickelodeon
Edwin S. Porter and the Edison Manufacturing Company
Charles Musser
University of California Press BERKELEY / LOS ANGELES / OXFORD
Page iv
University of California Press Berkeley and Los Angeles, California
University of California Press, Ltd. Oxford, England
1991 by The Regents of the University of California
Library of Congress Cataloging-in-Publication Data
Musser, Charles. Before the nickelodeon: Edwin S. Porter and the Edison Manufacturing Company / Charles Musser. p. cm. (The UCLA Film and Television Archive studies in history, criticism, and theory) Includes bibliographical references (p.) and index. ISBN 0-520-06080-6.ISBN 0-520-06986-2 (pbk.) 1. Porter, Edwin SCriticism and interpreta tion. 2. Thomas A. Edison, Inc. 3. Silent films United StatesHistory and criticism. 4. Motion picturesUnited StatesHistory. I. Title. II. Series. PN1998.3.P67M87 1991 90-11045 791.43'0232'092dc20 CIP
Printed in the United States of America
1 2 3 4 5 6 7 8 9
The paper used in this publication meets the minimum requirements of American National Standard for Information SciencesPermanence of Paper for Printed Library Materials, ANSI Z39.48-1984
Page v
For Eileen Bowser In Memory of Jay Leyda
Page vii
Contents
Foreword
by Robert Rosen
ix
Acknowledgments
xi
1 Introduction
1
2 Porter's Early Years: 1870-1896
15
3 Edison and the Kinetoscope: 1888-1895
29
4 Cinema, a Screen Novelty: 1895-1897
57
5 Producer and Exhibitor as Co-Creators: 1897-1900
103
6 The Production Company Assumes Greater Control: 1900-1902
157
7 A Close Look at Life of an American Fireman: 1902-1903
212
8 Story Films Become the Dominant Product: 1903-1904
235
Page viii
9 Articulating an Old-Middle-Class Ideology: 1904-1905
291
10 Elaborating on the Established Mode of Representation: 1905-1907
325
11 As Cinema Becomes Mass Entertainment, Porter Resists: 1907-1908
Appendix A. Edison Manufacturing Company Statements of Profit and Loss: 1893-1911
480
Appendix B. Kleine Optical Company Accounts
482
Appendix C. Credits and Key to Quotations in the Documentary Film Before the Nickelodeon: The Early Cinema of Edwin S. Porter
484
List of Abbreviations and Primary Sources
487
Notes
491
List of Credits for Illustrations
551
Subject and Name Index
553
Film Title Index
579
Page ix
Foreword
By its example, Charles Musser's elegantly argued study of Edwin S. Porter conveys two of the primary goals that the UCLA Film and Television Archive seeks to achieve in sponsoring scholarly publication.
In part we hope to underline the creative role played by film archives in making historical research possible and, often, in helping to set the field's scholarly agenda. The study of early cinema is reliant on the accessibility of films rescued and preserved by institutions such as the Museum of Modern Art, the Library of Congress, the International Museum of Photography, and the UCLA Film and Television Archive. The current worldwide revival of scholarly concern with early film can be traced back to the legendary symposium sponsored by the International Federation of Film Archives in Brighton, England, in 1978.
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