WorldCat Identities

Thomas A. Edison, Inc

Overview
Works: 889 works in 1,156 publications in 1 language and 10,398 library holdings
Genres: History  Drama  Criticism, interpretation, etc  Catalogs  Discography  Silent films  Actualities (Motion pictures)  Motion pictures  Nonfiction films  Short films 
Classifications: PN1993.5.A1, 791.430973
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Publications about Thomas A. Edison, Inc Publications about Thomas A. Edison, Inc
Publications by Thomas A. Edison, Inc Publications by Thomas A. Edison, Inc
Most widely held works about Thomas A. Edison, Inc
 
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Most widely held works by Thomas A. Edison, Inc
Edison the invention of the movies ( Visual )
2 editions published in 2005 in English and held by 685 WorldCat member libraries worldwide
Commercial motion pictures were invented at the Edison Laboratory between 1888 and 1893. Perhaps none of the component parts were strictly new, but the ability of Edison and his staff to reorganize them for a specific purpose was an extraordinary cultural achievement. In 1894, Edison was the sole producer of motion pictures in the world. Many Edison films continue to be impressive as the company employed such accomplished early directors as John Collins and Alan Crosland
Treasures III social issues in American film, 1900-1934 ( Visual )
1 edition published in 2007 in English and held by 378 WorldCat member libraries worldwide
In the years before World War I, virtually no issue was too controversial to bring to the screen. The first American movies were deeply engaged with society, coming from an era when movies and entertainment were intimately interwoven with public debate. As such, they were shown in commercial movie theaters but also in clubs, churches, schools, and everywhere screens could be hung outdoors--from the sides of city tenements to country barns. This archive sends these treasures back into the world, where they found their inspiration. "The City Reformed" deals with the urban problems: poverty, criminality, health, safety, child welfare, and corruption. Gender, family, and the crusade for equal voting rights dominate in program 2, "New Women." Labor struggles and oppression are central to program 3, "Toil and Tyranny." The final program, "Americans in the Making," brings together films confronting immigration, race relations, and wartime home-front sacrifice
Experimentation and discovery ( Visual )
4 editions published between 1994 and 2002 in English and held by 231 WorldCat member libraries worldwide
A collection of early motion picture films from the first 10 years of medium, including works by Cecil Hepworth, George Howard Cricks, John Howard Martin, Pathé Frères, and the Edison Manufacturing Company
Picasso and Braque go to the movies ( Visual )
1 edition published in 2011 in English and held by 215 WorldCat member libraries worldwide
This film advances an interesting thesis: if the static visual arts affected early cinema's vocabulary, did moving pictures inspire Cubism's two towering giants, Pablo Picasso and Georges Braque? Cinema and Cubism were born during the birth of modernity itself, and filmmaker Arne Glimcher argues that films, from the earliest days of Thomas Edison and the Lumière Brothers, were a crucial formative influence on Modern painting, particularly on Picasso and Braque. The movies' revolutionary portrayal of time, space, and motion was the engine behind the modernist revolution in fine art. Through interviews with art historians, practicing plastic and visual artists, poets, and filmmakers, it traces the effects of technological revolution--specifically the invention of aviation and the creation of cinema--and their interdependent influence on the art dubbed Modern
The great train robbery & other primary works by ( Visual )
1 edition published in 1994 in English and held by 165 WorldCat member libraries worldwide
A collection of early motion picture films, including works by Eadweard Muybridge, Louis and Auguste Lumière, Georges Méliès' "Le voyage dans la lune", Edwin S. Porter's "The great train robbery" and Segundo de Chomon's "The golden beetle."
Army pack train bringing supplies ( Visual )
4 editions published in 1906 in English and No Linguistic content and held by 118 WorldCat member libraries worldwide
The following is a scene-by-scene description of the film: [Frame: 0276] The first segment shows a series of loaded mule trains, guided by mules and horses. Many soldiers ride two-to-a-horse (or mule), possibly to facilitate quick unloading of supplies. Note the "Rough Rider"-style hats worn by many of the men. The dusty location is unclear; if the tower in the right distance is St. Boniface Church, the view could be west on Golden Gate Avenue from Van Ness Avenue. Note the young soldier approaching the camera [1093]. [1843] The second scene shows what are probably the same mule trains passing through an unburnt neighborhood. The row of Victorian homes, the distant slope, and the church on the hill suggest a possible view east on Geary Street from near Webster Street. If the location is correct, the supplies could be headed for the Hamilton Park refugee camp or for the Presidio supply center. Pack trains such as this were the quickest and most efficient method of transporting large amounts of supplies through the hilly and rubble-filled streets west of the docks
What happened on Twenty-third Street, New York City ( Visual )
4 editions published in 1901 in English and held by 117 WorldCat member libraries worldwide
A street level view from the sidewalk, looking along the length of 23rd Street. Following actuality footage of pedestrians and street traffic, the actors, a man in summer attire and a woman in an ankle-length dress, walk toward the camera. As they cross a grate on the sidewalk they pause, and the escaping air blows the woman's dress to her knees
Exploded gas tanks, U.S. Mint, Emporium and Spreckels Bld'g ( Visual )
5 editions published in 1906 in English and held by 114 WorldCat member libraries worldwide
The following is a scene-by-scene description of the film: [Frame: 0280] The pan begins in the southwest, viewing two 550,000 cubic foot, 45' diameter frames of gas tanks of the San Francisco Gas and Electric Company at 5th and Folsom streets. [1155] The 1873 U.S. Mint is visible in the distance at 5th and Mission streets, a classical facade with two large smokestacks at the rear. The building is now a museum. [1060] The dome of the ruined City Hall is seen in the background at left, behind the ruined wall. [1682] The camera views the impressive ruins of the Emporium department store facing Market Street. A couple in the foreground walk up 4th Street. [1750] The Flood Building is seen behind the Emporium across Market Street at Powell Street. [2082] We look up 4th Street to see the St. Francis Hotel, at Powell and Geary streets. Its adjacent unfinished north wing was under construction before the disaster. [2195] The frame of the Butler Building (now I. Magnin's department store) at Stockton and Geary streets is seen. It also was under construction at the time of the earthquake and fire. [2270] The Fairmont Hotel on Nob Hill, almost ready to open at the time of the disaster, is the square building seen in the distance. The tower of the unfinished (pre-disaster) Whittell Building, on Geary Street near Stockton Street, is at center right. [2480] The tower of the Shreve Building (pioneer silverware firm) at Post Street and Grant Avenue is behind the ruins at left. The smokestack of a San Francisco Gas and Electric Company substation is at right. [2705] At center is the handsome domed tower of the Spreckels Building, renamed the Call Building when it became the main office of the San Francisco Call newspaper. The view is due north. The Aronson Building is just visible above the nearby wall, which hides the ruined Palace Hotel. [4000] Ruins are seen along 2nd and 3rd streets to the northeast. The Wells Fargo Building with its heavy cornice is at left center at Mission and 2nd streets. At right, a block closer to the camera position, are hotels on 3rd Street. [3360] A view diagonally across Howard Street to 3rd Street shows dramatic hotel and apartment house ruins
Move on ( Visual )
4 editions published in 1903 in English and held by 110 WorldCat member libraries worldwide
Filmed in New York's Lower East Side, the scene is a street where several pushcart vendors have gathered to sell their goods. In the foreground are fruit and vegetable carts. An elevated railroad track crosses over the street in the background. As the film progresses, two policemen can be seen heading up the street toward the camera and ordering all of the vendors to move. One of the policemen approaches the camera waving his nightstick, and the cart in the foreground begins moving. The film ends with a closeup of the policeman scolding the vendor
Sham battle at the Pan-American Exposition ( Visual )
4 editions published in 1901 in English and held by 110 WorldCat member libraries worldwide
Large arches and columns are seen surrounding a flat field. In the foreground of the field, some American Indians on horseback ride toward the camera. The Indians are wearing feathers, war paint, and are carrying frontier rifles across the bare backs of their horses. In the middle of this flat area, men dressed as U.S. Army troops in battle regalia are lined up in the position of skirmishers. They fire at the Indians, who gallop by. The troops move over this flat area while the Indians on horseback circle them
President McKinley reviewing the troops at the Pan-American Exposition ( Visual )
4 editions published in 1901 in English and held by 109 WorldCat member libraries worldwide
From a contemporary Edison film company catalog: PRESIDENT McKINLEY REVIEWING THE TROOPS AT THE PAN-AMERICAN EXPOSITION. Ungloomed. [code for telegraphic orders]. The President is seen on the reviewing stand at the Stadium, escorted by President Milburn, of the Pan-American Exposition, Secretary Cortelyou, and other noted persons. He removes his silk hat as the troops march by and politely bows to the great audience as they cheer and encore. President McKinley and party form the left foreground of our picture while the troops march by in the right foreground. From this excellent position we thus secured perfect pictures of both the Executive and his troops. Class A 85 ft. $12.75
Spanish dancers at the Pan-American Exposition ( Visual )
4 editions published in 1901 in English and held by 109 WorldCat member libraries worldwide
From a contemporary Edison film company catalog: GYPSY DANCE AT THE PAN-AMERICAN EXPOSITION. Unhaltbar. [code for telegraphic orders] The picture was taken in the Gypsy tent at the Pan-American Exposition and shows ten beautiful Gypsy girls executing the famous Gypsy dance that created such a furor at the Exposition. Features of the well known couchee couchee are introduced by some of the dancers. The scene is both artistic and entrancing. Class B 75 ft. $9.00
President McKinley's funeral cortege at Washington, D.C ( Visual )
4 editions published in 1901 in English and held by 109 WorldCat member libraries worldwide
From a contemporary Edison film company catalog: PRESIDENT McKINLEY'S FUNERAL CORTEGE AT WASHINGTON, D.C. Ungodding. [code for telegraphic orders]. When photographing the funeral of President McKinley we secured an excellent position at the foot of Pennsylvania Avenue in Washington, D.C., having had the exclusive right for animated picture apparatus inside the lines. Our camera is focused looking up Pennsylvania Avenue and shows countless thousands of mourning people who line the streets along the way. As the funeral procession which accompanies the body of our martyred President approaches, our camera is set in motion and pictures of the marching multitude who pay the last tribute to President McKinley at our National Capitol are recorded in the following order. The line is headed by a troop of U.S. Cavalry, followed by detachments of heavy artillery [end of part 1]; then comes the Loyal Legion, followed by G. A. R. detachments, made up of both Federal and Confederate veterans. Next in order comes the Guard of Honor [end of part 2], who are in turn followed by the hearse, which is drawn by six black-plumed and black-netted horses. Inside the hearse can be seen the flag covered casket. The light and color of the procession is suddenly gone; spectators silently bow and bare their heads. The pageant has suddenly been transformed into a funeral cortege. Our position was so excellent that as the hearse passed our camera a distinct and life-size view was procured, showing this vehicle of sadness in all its detail. The hearse is closely followed by the Admirals of the Navy and the Generals of the Army. Next in order come the carriages of the family and the relatives, and then the carriage of President Roosevelt, which is drawn by four black horses. Next come the carriages which contain the President's Cabinet, the Diplomatic Corps, Chief Justice Fuller and Associate Justices, Senators, Congressman, Governors of States and Government Officials. These carriages are followed by the United States Marine Band, which forms a most imposing spectacle as it marches slowly and solemnly to the strains of "Nearer My God to Thee." Following the United States Marine Band and in step with the slow funeral march comes the National Guard of the District of Columbia and sailors from United States Battleships, clad in their natty uniforms and jackey hats. The sailors and soldiers are marching sixteen abreast and make a very imposing spectacle as they pass our camera [sequence from the Marine Band to sailors appears in part 2]. The procession having passed, the crowd immediately surges toward the Capitol, intent on securing a place in the line that they may enter the rotunda and look upon the face of the illustrious President McKinley. Our panoramic device is then set in motion and a most perfect and interesting picture is secured as an ending to the Washington film. The picture shows the immense crowds surging toward the Capitol, and as rain begins falling at that moment tens of thousands of umbrellas are raised for protection. Our camera having been above the heads of the people, a most novel effect is secured. As the camera rotates, the base and steps of the Capitol are brought into view and the crowd is shown crushing and struggling for entrance to the rotunda. One of the most perfect of the McKinley funeral pictures. Class A 350 ft. $52.50. We also furnish a 75 foot strip of the above, showing the crowds at the Capitol. Class A Ungodily. $11.25
President McKinley and escort going to the Capitol ( Visual )
4 editions published in 1901 in English and held by 109 WorldCat member libraries worldwide
From a contemporary Edison film company catalog: PRESIDENT McKINLEY AND ESCORT GOING TO THE CAPITOL. This most excellent picture was secured at the junction of Pennsylvania Avenue and Fifteenth Street. The parade is headed by a platoon of mounted police; next comes the Grand Marshal, Major- General Francis V. Green, and staff, as follows: A. Noel Blakeman, Lieut. Col. John S. Johnson, Major-General N.E. Thompson, U.S.A., Brigadier-General U.S.W. Day, U.S.V., Lieut. Winfield S. Overton, U.S.A., all mounted on splendid horses. Next come the famous Troop A, of Cleveland, Ohio, who act as the personal escort of the President. They present a most striking appearance as they go down the incline on Fifteenth Street, Washington. Next comes President McKinley in his carriage drawn by four of his own horses, the pair of blacks in the lead and the favorite bays on the wheel. The President is seated in the right of the carriage with Senator Hanna on the left beside him, and facing them, with their backs to the driver, are seated Representatives Cannon and McRae. Owing to special permits granted us by the United States Government, we were able to have our camera within twenty feet of the President's carriage when it passed, and an absolutely perfect photograph was secured. The President's carriage is followed by Secretaries Hay and Gage. The third carriage contains Secretary Root, Attorney-General Griggs and the President's Private Secretary Cortelyou. The fourth carriage contains Secretaries Long, Wilson, Hitchcock and Postmaster-General Smith. The fifth carriage contains Lieutenant-General Miles and Admiral Dewey. We also present excellent pictures of the Admiral of the Navy and the General commanding the United States Army as they pass. This picture closes up by showing a detachment of Veterans of the Twenty-third Ohio Volunteers, followed closely by the West Point Cadets, who present a remarkable spectacle as they execute left wheel turning from Fifteenth Street into Pennsylvania Avenue
President McKinley taking the oath ( Visual )
4 editions published in 1901 in English and held by 109 WorldCat member libraries worldwide
From a contemporary Edison film company catalog: PRESIDENT McKINLEY TAKING THE OATH OF OFFICE. This picture opens by showing the Diplomatic Corps, accompanied by Admiral Dewey and General Nelson A. Miles, coming down the carpeted stone steps of the Capitol and going to their seats in front of the stand where the President speaks. Next come the members of the President's Cabinet, and they are followed closely by President McKinley, preceded by Sergeant-at-Arms Ransdell of the Senate, bare headed and one armed, and also accompanied by the joint committee of Congress, composed of Senator Mark Hanna, of Ohio; Senator Spooner, of Wisconsin; Senator James K. Jones, of Arkansas; Representatives Cannon, of Illinois; Dalzell, of Pennsylvania, and McRae, of Arkansas. The President then steps promptly to the front of the stand amid the cheers of the immense crowd who stand with heads reverently uncovered, filling the entire foreground of our picture. As the tumult ceases, Chief Justice Melville W. Fuller, in the black silk robes of his high office, steps forward and holding in his outstretched hand a small Bible, administers the oath of office. The oath taken, the President presses his lips to the Bible and with manuscript in hand, immediately begins his speech. Again the valuable and exclusive privileges granted us by the United States Government allowed us to place our camera within fifteen feet of the President when he took the oath of office. We regret that we were unable to secure a longer film than listed above, but the rain began falling in torrents with almost the first words of the President's speech, which of course prohibited our taking a greater length of film, but notwithstanding the fact that it began sprinkling before the President took the oath of office, the fifty feet of film which we did secure is good
Funeral leaving the President's house and church at Canton, Ohio ( Visual )
4 editions published in 1901 in English and held by 109 WorldCat member libraries worldwide
From a contemporary Edison film company catalog: PRESIDENT McKINLEY'S BODY LEAVING THE HOUSE AND CHURCH. Ungowning. [code for telegraphic orders]. In this picture we show a most perfect view of the front entrance of the McKinley home in the background. The hearse which is to bear the President's body to its last resting place drives into view. President Roosevelt's Cabinet forms in line on either side of the walk. The Admirals of the Navy and the Generals of the Army form lines in their rear. President Roosevelt takes his place at the head of the Cabinet and immediately the body emerges from the front door, borne on the shoulders of the soldiers and sailors. As it passes through the lines of Diplomats, Admirals and Generals, all heads are uncovered. The sailors and soldiers descend the steps slowly to the sidewalk and then the body is placed in the hearse. Here we secured another life size view. The hearse starts slowly away and President Roosevelt and his Cabinet walk toward their carriages. Then with the aid of our panoramic device we followed the hearse until it passed slowly out of view down Market Street. This scene dissolves into a picture of the body leaving the church at Canton borne on the shoulders of the sailors and soldiers and placed again in the hearse. From the time the casket appears at the church door it does not pass out of the view of our camera until the doors of the hearse are closed upon it. We follow it constantly with our panoramic device, and the views are perfect and life size. The hearse finally starts away for the cemetery, followed by the famous Black Horse Cavalry, Troop A, of Ohio. Class A 200 ft. $30.00
Panoramic view of the President's house at Canton, Ohio ( Visual )
4 editions published in 1901 in English and held by 109 WorldCat member libraries worldwide
From a contemporary Edison film company catalog: CIRCULAR PANORAMA OF PRESIDENT McKINLEY'S HOUSE. Ungowned. [code for telegraphic orders]. Here we present probably the most interesting and valuable of the McKinley funeral series. Our camera is located opposite the McKinley home on Market Street, Canton, at 9 A.M. on the day of the funeral, September 19th, 1901. As the camera revolves, immense crowds of people who are slowly passing the house come into view. The soldiers of the National Guard of the State of Ohio are everywhere visible. In the center of the film we present an absolutely perfect view of the McKinley home and at the front door can be seen a soldier and a sailor on guard. The camera continues revolving until the McKinley house passes out of view and the strip ends with the camera looking down Market Street toward the Court House. Class A 80 ft. $12.00
White Wings on review ( Visual )
4 editions published in 1903 in English and held by 109 WorldCat member libraries worldwide
From a contemporary Edison film company catalog: WHITE WINGS ON REVIEW. A fine picture of the celebrated "White Wings" or street- cleaning department of one district of Greater New York, showing over 350 men in line, and over 100 carts that are used to carry the refuse away to the dumping wharf, marching through the streets of New York
Execution of Czolgosz, with panorama of Auburn Prison ( Visual )
5 editions published in 1901 in English and held by 109 WorldCat member libraries worldwide
From a contemporary Edison film company catalog: ELECTROCUTION OF CZOLGOSZ. . A detailed reproduction of the execution of the assassin of President McKinley faithfully carried out from the description of an eye witness. The picture is in three scenes. First: Panoramic view of Auburn Prison taken the morning of the electrocution. The picture then dissolves into the corridor of murderer's row. The keepers are seen taking Czolgosz from his cell to the death chamber, and shows State Electrician, Wardens and Doctors making final test of the chair. Czolgosz is then brought in by the guard and is quickly strapped into the chair. The current is turned on at a signal from the Warden, and the assassin heaves heavily as though the straps would break. He drops prone after the current is turned off. The doctors examine the body and report to the Warden that he is dead, and he in turn officially announces the death to the witness
Sorting refuse at incinerating plant, New York City ( Visual )
4 editions published in 1903 in English and held by 109 WorldCat member libraries worldwide
The subject is a group of about thirty men and boys who are sorting combustible refuse, mostly paper, and stuffing it into large sacks. In the background a man in a hat with an emblem on it can be seen unloading trash from a large wagon. Location may be the New York City Sanitation Department's East 17th Street facility, or possibly the incinerator at West 47th Street on the Hudson River
 
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Alternative Names

controlled identity McGraw-Edison Company

controlled identity National Phonograph Company

Edison, Inc.
Edison Manufacturing Co.
Edison Mfg. Co.
Edison (Thomas A.), Inc
Languages
English (116)
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