WorldCat Identities

Porter, Edwin S.

Publication Timeline
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Most widely held works by Edwin S Porter
Edison : the invention of the movies by Thomas A Edison( Visual )

2 editions published in 2005 in English and held by 665 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
Landmarks of early film by David Shepard( Visual )

3 editions published between 1994 and 1997 in No Linguistic content and English and held by 517 WorldCat member libraries worldwide

A compilation of the very earliest films from the first projections of moving images to the advent of the feature film, an area of film history often underseen, underappreciated and understudied
The great train robbery( Visual )

46 editions published between 1903 and 2014 in 4 languages and held by 365 WorldCat member libraries worldwide

The genesis of the motion picture medium is vividly recreated in this unprecedented collection of the cinema's formative works. 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, who offer cinematic glimpses of such commonplace sights as children quarreling, a lion in a zoo or the feeding of poultry. As for more obvious fictions there is the myth-making of Edwin S. Porter's seminal The great train robbery (1903) and the pictorial splendor of Ferdinand Zecca's The Golden Beetle (1907), both presented in mint condition prints with the original hand-tinting, as well as Georges Méliès' extravagant A trip to the moon (1902, complete with narration penned by the director, intended to accompany its performance). The low art origins of the cinema are represented in some of Thomas Edison's Kinetoscopes (1894-97, serpentine dances, a cockfight, a bedroom full of seminary girls engaged in a pillow fight and the notorious first screen kiss) and a collection of mechanized peep shows from American Mutoscope and Biograph, whose burlesque origins are free from social or aesthetic pretense, being designed solely for titillation and amusement. When social crusaders spoke of the evils of film, this is what they had in mind
The great train robbery : and other primary works by Edwin S Porter( Visual )

21 editions published between 1894 and 2002 in 3 languages and held by 361 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
The dream of a rarebit fiend by Edwin S Porter( Visual )

15 editions published between 1903 and 2018 in 3 languages and held by 353 WorldCat member libraries worldwide

"I never have dreams after eating rarebit," says the husband, but the wife does, of her flying house looking for a place to live
Before the Nickelodeon : the early cinema of Edwin S. Porter by Charles Musser( Visual )

17 editions published between 1982 and 2012 in English and held by 290 WorldCat member libraries worldwide

Publisher description: Between the years 1894 to 1908, Edwin S. Porter was the leading American filmmaker. Follows his movie career, from his first job installing Thomas Edison's Vitascope machines in New York, through his business as a film exhibitor, to his job as head of Edison's movie studio. There he created story films: Jack and the Beanstalk, The Life of an American Fireman, and The Great Train Robbery. By 1909, his film technique was old fashioned. Fired by Edison, he continued making films until 1915, but he had been left behind by new directors with new techniques
The great train robbery( Visual )

4 editions published between 2003 and 2005 in English and held by 283 WorldCat member libraries worldwide

2003 marks the 100th anniversary of the release of "The Great Train Robbery," not only the first western film -- but also the first motion picture produced which contained a coherent plot! It was also one of the very first box office blockbusters, instantly becoming a huge commercial success and spawning many outright imitations. Featuring Gilbert M. "Broncho Billy" Anderson in four separate roles, the 740-foot film catapulted him into some 375 other pictures and set numerous precedents in filmmaking techniques. This 100th anniversary special edition version contains two versions of this historically significant western, the original silent archival version provided by the Library of Congress and a digitally enhanced version with a new music and effects track and color tinted sequences. In addition, we are presenting three other important silent classics, which feature two of the greatest contributors to the heritage of western cinema -- William S. Hart and Tom Mix and one of the most influential filmmakers of all time, D. W. Griffith. "The Heart of Texas Ryan" (1916), featuring the legendary Tom Mix -- one of the most flamboyant, true-life cowboy heroes of the silent era -- is filled with the kind of action Tom Mix fans loved, including a kidnapping, fistfights and a last-minute rescue. The second feature, "Tumbleweeds" (1925) starred the great William S. Hart, in his last and biggest film. Hart co-directed with King Baggott and many consider it worthy of being ranked with "The Covered Wagon" and "The Iron Horse" as a major western epic. The highlight of the film is a spectacular recreation of the Cherokee Strip land rush, which, according to William K. Everson writing in his own A Pictorial History of the Western Film, "was not only splendidly staged and photographed but also edited with a precision and a mathematical rhythm worthy of Eisenstein." As a special bonus the disc also includes one of D. W. Griffith's best films, "The Battle Of Elderbush Gulch" (1913) featuring Lillian Gish and Mae Marsh as two Eastern gals who move out West and encounter hostile Indians. All of these silent films have been enhanced with music and effects tracks and special prologues have been narrated by Will Hutchins (TV's "Sugarfoot"). - Container
Experimentation and discovery( Visual )

5 editions published in 2002 in English and held by 235 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
Excerpts from Aristophanes' "The Birds" by Aristophanes( Visual )

5 editions published in 1991 in English and held by 233 WorldCat member libraries worldwide

Aristophanes' classical Greek comedy
The gay shoe clerk( Visual )

9 editions published between 1903 and 2000 in English and No Linguistic content and held by 227 WorldCat member libraries worldwide

"A man is arranging the stock in a shoe store set when an elderly woman accompanied by a young girl enters the store. The older woman seats herself and begins reading while the younger woman sits on the shoe-demonstration chair and puts up her foot. At that moment, the camera is moved in to an insert close-up covering only the woman's foot, the shoe clerk's hand, and the hem of her skirt. As the film continues, the hem of the woman's skirt rises exposing her ankle, and the area below the knee. The remainder of the film is photographed from a different camera position. The clerk kisses the young woman. Her chaperone notices their embrace, gets up, and beats the shoe clerk on the head with her umbrella"--Early motion pictures / Kemp R. Niver. "Before the turn of the century, most movies consisted of a single unedited shot. ... The three-shot Gay shoe clerk ... reveals a step toward coherent editing. The film's two cuts are each a rough 'match on action.' (In the insert close-up, the young woman raises her dress so that it reveals her leg in a way that roughly matches what we see in the two surrounding longer views.)"--Accompanying brochure, Treasures from American film archives, 2000
Esquimaux village( Visual )

4 editions published in 1901 in English and held by 223 WorldCat member libraries worldwide

From a contemporary Edison film company catalog: THE ESQUIMAUX VILLAGE. One of the principal features at the Pan-American Exposition is the Alaskan or Esquimaux Village. In this most interesting exhibit, scenes are enacted just as they take place in the far away frozen North. In this subject we depict a large number of Esquimaux clothed in their native costumes and seated on their sleds, which are drawn by spans of four Esquimaux dogs. They are engaged in a race and are to be seen running over the ice and snow at a high rate of speed. There is a pond in the foreground of the picture on the shores of which the home stretch of the race takes place. The picture is perfect photographically, and the figures stand out clear and sharp, throwing a most perfect reflection on the pond
Esquimaux leap-frog( Visual )

4 editions published in 1901 in English and held by 223 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
The martyred presidents( Visual )

6 editions published in 1901 in English and held by 222 WorldCat member libraries worldwide

From a contemporary Edison film company catalog: THE MARTYRED PRESIDENTS--LINCOLN, GARFIELD, McKINLEY. Ungueltig. [code for telegraphic orders]. 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. Class B 75 ft. $11.25
Panorama water front and Brooklyn Bridge from East River( Visual )

5 editions published in 1903 in English and held by 220 WorldCat member libraries worldwide

This film depicts the East River shoreline and the piers of lower Manhattan starting at about Pier 5 (the New York Central Pier) opposite Broad Street, and extending to the Mallory Line steamship piers just south of Fulton Street and the Brooklyn Bridge. The film begins with shots of canal boats or barges (from the Erie Canal via the Hudson River) docked at and around Coenties Slip [Frame: 0106]. As the film progresses, the New York Produce Exchange located at Bowling Green, Manhattan, with its distinct tower, comes into view in the background [0346]. Between here and the Wall Street ferry, there follows in order of appearance: steam tugs [0308 and 0422], a wooden hull barkentine [1032] with box barges alongside, a docked iron hull sailing ship, probably British [1448], an ocean steamer with yards on the foremast [1748], a derrick lighter laden with barrels docked at the end of a pier [2134], and a fruit steamer [2612]. In the Wall Street Ferry slip (between Piers 15 and 16) there is a Wall St., Manhattan-to-Montague St., Brooklyn, double-ended steam commuter boat [2896]. The ferry is visible immediately before a shot of the large advertising billboards on Pier 16. The film next shows the Ward Line piers (J.E. Ward & Co., New York and Cuba Steamship Co.) [3040], a Pennsylvania Railroad tug [3190], a derrick lighter [3320], and the Mallory Line piers [3692]. A Mallory Line steamer can be seen on the south side of one of the Mallory Piers [3736]. The camera begins panning out into the East River after passing pier 20, catching the fog bell at the end of pier 21 [3922]. A car float is visible passing under the Brooklyn Bridge [4202]. The pan follows the line of the Brooklyn Bridge eastward to Brooklyn Heights, where the Hotel Margaret (tall building in background) is visible just before the end of the film [4464]. This film continues the view begun in the film Sky Scrapers of New York City From the North River. Together they comprise a sweep around the southern tip of Manhattan, from Fulton Street on the Hudson to the Brooklyn Bridge
Circular panorama of Electric Tower( Visual )

5 editions published in 1901 in English and held by 220 WorldCat member libraries worldwide

From a contemporary Edison film company catalog: CIRCULAR PANORAMA OF THE ELECTRIC TOWER. Ungulata. [code for telegraphic orders] A most interesting picture at the Pan-American Exposition structure was taken from the north side of the Electric Tower. It presented the most perfect and diversified views of the Transportation Building, Mexican Plaza, the Stadium and the north side of the Electric Tower. Class B 100 ft. $12.00
New York Harbor Police boat Patrol capturing pirates( Visual )

5 editions published in 1903 in English and held by 220 WorldCat member libraries worldwide

This was probably filmed in the southern part of the Upper New York Bay looking towards the Narrows, with Fort Lafayette partly visible in the far background. The subject is a simulated capture by the police gunboat "Patrol" of three "pirates" in a rowboat. Puffs of smoke appear as the gunboat fires several rounds from the bow cannon, which can be clearly seen later in a side view of the boat. The "Patrol" was a steel, twin screw, 135 foot, 118 ton police boat, built in 1893 at Sparrow's Point, Maryland
Panoramic view of Electric Tower from a balloon( Visual )

4 editions published in 1901 in English and held by 219 WorldCat member libraries worldwide

From a contemporary Edison film company catalog: PANORAMIC VIEW OF THE ELECTRIC TOWER FROM A BALLOON. Here we have recorded a very novel scene, the camera having been placed in the basket of the captive balloon at the Pan-American Exposition. It was then slowly elevated to the top of the Tower, a distance of 465 feet, and slowly lowered until it reached the ground, keeping the Tower in view all the time during the ascent and descent, ending with a very interesting view of the base of the Tower, with crowds of people passing to and fro
Sorting refuse at incinerating plant, New York City( Visual )

5 editions published in 1903 in English and held by 219 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
President McKinley and escort going to the Capitol( Visual )

4 editions published in 1901 in English and held by 219 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
Execution of Czolgosz, with panorama of Auburn Prison( Visual )

4 editions published in 1901 in English and held by 218 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
 
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WorldCat IdentitiesRelated Identities
Alternative Names
Edwin Porter

Edwin S. Porter

Edwin S. Porter Amerikaans filmregisseur

Edwin S. Porter amerikai filmrendező

Edwin S. Porter director de cine estadounidense

Edwin S. Porter director de cinema estadounidense

Edwin S. Porter director de cinema estatunidenc

Edwin S. Porter réalisateur américain

Edwin S. Porter US-amerikanischer Filmpionier

Edwin Stanton Porter regista statunitense

Porter, Ed 1870-1941

Porter Edward 1870-1941

Porter, Edwin 1870-1941

Porter, Edwin Stanton 1869-1941

Porter Edwin Stanton 1870-1941

Porter, Edwin Stratton

Porter Edwin Stratton 1870-1941

Едвін Портер

Портер, Эдвин

Эдвин Портер американский кинорежиссёр, оператор, сценарист, продюсер

אדווין סטנטון פורטר

אדווין סטנטון פורטר במאי קולנוע אמריקאי

ادوين بورتر مخرج أفلام أمريكي

ادوین اس پورتر کارگردان آمریکایی

എഡ്വിൻ എസ്‌. പോർട്ടർ

에드윈 포터

エドウィン・S・ポーター

埃德温·鲍特

Languages
English (187)

Spanish (1)

French (1)