WorldCat Identities

Thomas A. Edison, Inc

Overview
Works: 968 works in 1,310 publications in 1 language and 17,251 library holdings
Genres: Short films  Nonfiction films  Documentary films  History  Silent films  Drama  Criticism, interpretation, etc  Nonfiction television programs  Biographical television programs  Biography 
Roles: Producer, prn
Classifications: PN1993.5.A1, 791.430973
Publication Timeline
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Most widely held works by Thomas A. Edison, Inc
Edison the invention of the movies by Howard Hawks( Visual )

2 editions published in 2005 in English and held by 728 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 382 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
The great train robbery and other primary works by Edwin S Porter( Visual )

2 editions published between 1994 and 2002 in English and held by 364 WorldCat member libraries worldwide

"The genesis of the motion picture medium is recreated in this collection of films from cinema's formative period. More than crucial historical artifacts, these films reveal the foundation from which the styles and stories of the contemporary cinema would later arise. An animated rendering of Eadweard Muybridge's primitive motion studies (1877-85) begins the program, immediately defining the compound appeal of cinema as both a scientific marvel and sensational popular entertainment. This is followed by the works of Louis and Auguste Lumière."--Publisher
Experimentation and discovery by Edwin S Porter( Visual )

5 editions published between 1994 and 2002 in English and held by 309 WorldCat member libraries worldwide

"More than any other decade, the first ten years of the moving picture saw the greatest amount of experimentation and development. Ranging from the ingeniously creative to the audacious, the films represented in this volume offer a sampling of the primitive masterworks that allowed the technical novelty of the cinema to so quickly flourish into an artistically expressive medium. In the films of Cecil Hepworth, one witnesses a primal use of titles (How It Feels To Be Run Over, 1900) and some other rather gruesome visual comedy (Explosion Of A Motor Car, 1900). A Visit To Peek Frean And Co.'s Biscuit Works (1906) by G. H. Cricks features the extensive use of indoor arc lighting; at the same time being a key transitional film between the early actualities and a more involved form of non-fiction filmmaking that would ultimately blossom into the documentary. From France's Pathé Frères come films that are alternately titillating (Par Le Trou De Serrue/Peeping Tom, 1901), awe-inspiring (Aladin, Or The Wonderful Lamp, 1906), colorful (Magic Bricks, 1908) and dramatic (Revolution In Russia, 1905, which depicts the same event as Eisenstein's Battleship Potemkin). Particularly striking is History Of A Crime (1901), in which a criminal's memories are visually rendered through a unique bit of production design. This volume concludes with several works from the Edison Manufacturing Co., including the first known advertising film (Dewar's - It's Scotch, 1898) and Edwin S. Porter's The Dream Of A Rarebit Fiend (1906, a stunning visual fantasy adapted from the comics of Windsor McCay, whose animation can be glimpsed in vol. 5 of this series."--Publisher
Picasso and Braque go to the movies( Visual )

1 edition published in 2011 in English and held by 241 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
Army pack train bringing supplies( Visual )

5 editions published in 1906 in English and No Linguistic content and held by 188 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
Exploded gas tanks, U.S. Mint, Emporium and Spreckels Bld'g( Visual )

5 editions published in 1906 in English and held by 179 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 )

5 editions published in 1903 in English and held by 178 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
What happened on Twenty-third Street, New York City( Visual )

5 editions published in 1901 in English and held by 170 WorldCat member libraries worldwide

From a contemporary Edison film company catalog: WHAT HAPPENED ON 23d STREET, NEW YORK CITY. This is a winner and sure to please. The scene as suggested by the title is made on 23d street, New York City. In front of one of the large newspaper offices on that thoroughfare is a hot air shaft through which immense volumes of air is forced by means of a blower. Ladies crossing these shafts often have their clothes slightly disarranged, (it may be said much to their discomfiture). As our picture was being made a young man escorting a young lady, to whom he was talking very earnestly, comes into view and walks slowly along until they stand directly over the air shaft. The young lady's skirts are suddenly raised to, you might say an almost unreasonable height, greatly to her horror and much to the amusement of the newsboys, bootblacks and passersby. This subject is a winner
Esquimaux leap-frog( Visual )

4 editions published in 1901 in English and held by 170 WorldCat member libraries worldwide

The film, photographed from a single camera position, shows buildings resembling igloos on ice floes, in front of which persons clothed as Eskimos play a game of leapfrog
Esquimaux village( Visual )

4 editions published in 1901 in English and held by 170 WorldCat member libraries worldwide

The first of three camera positions shows a low building resembling an igloo beside a small pool, and an ice floe. Dark-complexioned people dressed as Eskimos run up and down alongside the pool, and a dog pulls a sled. Next, some sled dogs are led in front of the camera. The last camera position shows the same dogs running into a tent made from animal skins
The martyred presidents( Visual )

5 editions published in 1901 in English and held by 169 WorldCat member libraries worldwide

From a contemporary Edison film company catalog: THE MARTYRED PRESIDENTS--LINCOLN, GARFIELD, McKINLEY. We have just finished and now offer to exhibitors a picture which we consider most valuable as an ending to the series of McKinley funeral pictures. The scene opens with a beautiful woman who represents Columbia seated at the altar of Justice. As if from out of space there slowly appears a perfect and lifelike picture of Abraham Lincoln. The forming of the picture is first noticed by the appearance of what seems to be a mere spot on the front of the altar. This spot slowly enlarges and is focused into shape, until, to the amazement of the audience, the face of the great emancipator is clearly shown. President Lincoln's likeness is allowed to remain upon the altar just long enough for recognition, when, in the same mysterious manner that it appeared, it slowly fades and in its place their grows the picture of President Garfield. This in a like manner fades away, and again as out of the dim distance comes the picture of our great martyred President, William McKinley. The tableau is then dissolved into a picture of an assassin kneeling before the throne of Justice. Here the tableau ends, leaving an impression of mingled sorrow and sublimity upon the audience. We predict for this picture a remarkable success, and particularly where it is shown in connection with the funeral ceremonies of the illustrious McKinley
A trip around the Pan-American Exposition( Visual )

4 editions published in 1901 in English and held by 169 WorldCat member libraries worldwide

The entire film was photographed from an excursion vessel traveling through all of the waterways surrounding the Exposition. The major exhibit buildings and amusement attractions of the fair can be seen as the boat makes its way through the area, going through tunnels and under bridges
Panorama of esplanade by night( Visual )

4 editions published in 1901 in English and held by 168 WorldCat member libraries worldwide

From a contemporary Edison film company catalog: PANORAMIC VIEW OF THE ESPLANADE BY NIGHT. A most perfect picture of the Pan-American Exposition buildings, including the Electric Tower and Temple of Music, as they appear at night
New York City dumping wharf( Visual )

4 editions published in 1903 in English and held by 168 WorldCat member libraries worldwide

The film shows a wharf where a barge is being loaded with trash from two-wheeled, horse-drawn wagons. The trash is dumped off the edge of the pier onto the barge, where men with shovels are spreading the piles of debris. The camera pans left to the next barge, where four-wheeled carts are shown dumping excavation rubble. Probably filmed on the East River, this is one of several New York City Sanitation Department dumping wharves in operation at the time
Execution of Czolgosz, with panorama of Auburn Prison( Visual )

5 editions published in 1901 in English and held by 168 WorldCat member libraries worldwide

The film begins by showing railroad cars in the foreground with the overshadowing walls of a state prison in the background. The second camera position, from a higher elevation, pans slowly showing the yard interior of the prison and some of the large buildings. There is a dissolve from the exterior to the interior, a set of a stone wall with an iron barred door. Uniformed men are visible; they open the door and remove a man in civilian clothes. The camera then dissolves to another set in which there is a chair with wires attached. The man in civilian clothes is brought in and strapped to the chair. At the end of the film, two of the six witnesses examine him with stethoscopes
Pilot boats in New York harbor( Visual )

4 editions published in 1899 in English and held by 168 WorldCat member libraries worldwide

A New York harbor pilot boat passes close enough for four members of the crew to be seen. Following the sailing vessel is a steamship
Panoramic view of the President's house at Canton, Ohio( Visual )

4 editions published in 1901 in English and held by 168 WorldCat member libraries worldwide

From a contemporary Edison film company catalog: CIRCULAR PANORAMA OF PRESIDENT McKINLEY'S HOUSE. 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
President Roosevelt at the Canton station( Visual )

4 editions published in 1901 in English and held by 168 WorldCat member libraries worldwide

From a contemporary Edison film company catalog: PRESIDENT ROOSEVELT AT THE CANTON STATION. In this picture we show President Roosevelt and Cabinet standing at the station with bare heads, while the casket of President McKinley is being placed in the hearse. As the hearse leaves the station the President and his Cabinet start for their carriages. Our panoramic device is here started and this picture finishes with a circular panorama of the Canton station and Public Square. The picture here presented of President Roosevelt is the best one ever recorded. He is very close to the camera and shown life size and can be instantly recognized
U.S. troops landing at Daiquiri, Cuba( Visual )

3 editions published in 1898 in English and No Linguistic content and held by 90 WorldCat member libraries worldwide

'These are the first U.S. troops to land on Cuban soil, June 22, 1898. The picture shows a long perspective view of the pier at Baiquiri [sic], the point chosen so strategically for the landing of General Shafter's army. At the end of the wharf are the coal dumps and ore elevators used by the mining company operating the famous iron mines at Juragua, five miles away. On the right of the picture is seen the stern of a huge transport as she rides at anchor, and in the distance, stretching far out to the horizon, are other vessels of the fleet'-- Edison motion pictures 1890-1900 (from The Phonoscope, October 1898, p. 15). 'U.S. troops in lifeboats are landing at a wooden pier in Daiquiri, Cuba; the men are part of Gen. William R. Shafter's expeditionary force sent to fight in Cuba during the Spanish-American War in June, 1898. The men alight from boats as earlier arrivals walk along the dock toward the camera; the soldiers are equipped with blanket rolls, haversacks, and rifles. One of the transport ships is visible in the background next to a high metal pier. Daiquiri was recommended to General Shafter as a landing site by Gen. Calixto Garcia because of the two piers built by an American mining company and the availability of fresh water. The actual landing proved to be disordered, but was fortunately unopposed by Spanish troops'-- Theodore Roosevelt Association Film Collection catalog, p. 162
 
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WorldCat IdentitiesRelated Identities
Alternative Names

controlled identityMcGraw-Edison Company

controlled identityNational Phonograph Company

Edison, Inc.

Edison Manufacturing Co.

Edison Mfg. Co.

Edison (Thomas A.), Inc

Thomas A. Edison Incorporated

托马斯·爱迪生公司

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English (111)

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