WorldCat Identities

Spanuth, Hans A.

Works: 13 works in 13 publications in 1 language and 62 library holdings
Genres: Short films  Drama  Silent films  History  Gangster films  Film clips  Western films  Chase films 
Roles: Author
Classifications: PN1995.75, 791.43
Publication Timeline
Most widely held works by Hans A Spanuth
The great train robbery : the cinema begins( Visual )

1 edition published in 1991 in English and held by 29 WorldCat member libraries worldwide

Presents the first important American film; brief, historic French films consisting of a single shot, some shown at the first movie exhibition; and Billy Whiskers films starring a goat and using trick photography
The great train robbery( Visual )

1 edition published in 1988 in English and held by 13 WorldCat member libraries worldwide

The Great train robbery (1903), directed by Edwin S. Porter, is the first important American film. Single-shot films follow, which were featured at the first film exhibition, in Paris in 1895. Afterwards, episodes of Billy Whiskers (1922) feature a goat involved in comic situations
Early vaudeville & variety stage film collection( Visual )

1 edition published in 2008 and held by 6 WorldCat member libraries worldwide

61 film clips covering animal acts, burlesque, dance, comic sketches, dramatic excerpts, dramatic sketches, physical culture, and tableaux
History of motion pictures : early variety motion pictures( Visual )

1 edition published in 2005 in English and held by 6 WorldCat member libraries worldwide

Presents 47 vintage short films and clips from the early years of cinema (1903-1920). The most significant years in the development of moving pictures in the U.S. were those between 1891 and 1920, by which time the cinematographic industry had attained a definite shape and form. The early years belonged to Edison Company, until other entrepreneurs, namely the American Mutoscope and Biograph Company and the American Vitagraph Company arrived. These three East Coast companies controlled most of the industry until the 1920s
H. A. Spanuth letter to Anna May Wong by Hans A Spanuth( )

1 edition published in 1946 in English and held by 1 WorldCat member library worldwide

The H. A. Spanuth letter to Anna May Wong is from 1946. The typewritten letter by Spanuth asks Wong to appear in WOMAN SPEAKS, a short subject film produced by the Film Studios of Chicago
[Animal act with baboon, dog and donkey]( Visual )

in English and held by 1 WorldCat member library worldwide

Opens on a closeup of a baboon "playing" a violin, then cuts to a medium shot of the same. The baboon wears a white short-sleeved shirt with a loose bow tie and tweed pants. Cuts to a closeup of the baboon in a circular mask or iris effect, without the violin but with a collar around his neck and a striped kitten that he places on his shoulder. Another iris effect opens to a long shot of a stage with a painted backdrop of a river. Standing at stage left is a woman in a spangled, sleeveless dress to the knee and high laced boots, holding the leash of a dark donkey. The baboon stands center stage, near a man in a white animal trainer suit with dark piping and a white cap. On a chair stage right sits a black and white spotted dog. A series of cuts show the baboon performing various tricks, including roller-skating in a circle around the man, doing a walking handstand, circling the stage atop a large ball, and riding the ball down a ramp with the kitten in his arms. The dog then creates figure-eights through the woman's legs as she walks, and jumps a rope held by the woman and baboon. Cuts to the baboon riding a bicycle in a circle around the man. Cuts to the baboon leading the donkey onstage, and then to the donkey apparently play-biting and kicking two men. The gag of the men trying to mount the donkey--only to be bitten, kicked, or thrown off--is repeated, with one intertitle: "A 100% kick." Ends after the baboon jumps on one man
Toto Brothers( Visual )

in English and held by 1 WorldCat member library worldwide

Opening title identifies this as a "balancing and iron jaw novelty act." Cuts to a long shot of a stage with a carpet and dark curtains as a backdrop, in front of which stand four chairs and a table. From stage left enters a man wearing dark leotards with a single-shouldered top, a waist belt, and dark high-top shoes with a white border. From stage right tumbles a male clown dressed in a white sailor suit and cap. The two engage in a slap-and-tumble novelty turn. The man then carefully positions two chairs facing each other on the carpet, but as he attends to one the clown sits in the other laughing, until it is yanked out from under him by his impatient "brother." This bit is repeated with the other chair. Finally, the two chairs are positioned correctly and the man performs a balancing act across them, with one arm on one chair and his feet on the other. Behind him, the clown grabs another chair and unsuccessfully attempts his own balancing act. His balancing brother, in the meantime, lowers himself as if doing a one-handed pushup, grabs in his mouth a handkerchief placed on the chair, and raises back up. He then encourages the clown to attempt the same act, with the expected humorous result that the chairs are pushed apart and the clown falls to the ground between them. The clown is picked up by his brother and tossed out of the way
Kawana Trio( Visual )

1 edition published in 1919 in English and held by 1 WorldCat member library worldwide

Opening title identifies the Kawana Trio as "artistic foot jugglers." The camera iris opens to reveal three Asians--two men and a woman--dressed in kimonos and looking down. They raise their heads and look at the camera, smiling, as the iris closes. Another iris effect opens to a stage with a dark background and a decorated, cushioned platform center stage. The men now wear white leotards with sashes tied at their waists. One of the two men reclines on the platform with his buttocks raised and supported by the cushion and his legs up in the air. The woman, dressed in a white leotard with a camisole-type top, enters and is helped up onto the reclining man's feet by the other partner. Starting on her stomach, the woman is juggled first to a sitting and then a side-reclining position. The film cuts to a closeup of the woman's body and the juggler's feet as he flips her into various positions, and then back to the long shot as she is juggled on her knees, feet, and stomach; somersaulted to a sitting position; and somersaulted to her back and spun. The trio then take a bow to the camera from the stage
Tom Tinker's pony patter( Visual )

in English and held by 1 WorldCat member library worldwide

Camera iris opens to six ponies with decorated harnesses and plumed halters, standing in the center of a stage with a painted backdrop of mountains. Cuts to two ponies on a seesaw, with a moustached man in a white uniform with dark piping and a white cap holding their leads. A second trainer in a dark suit can also be seen occasionally with the ponies. Individual ponies perform a variety of tricks, including rolling a slatted barrel across the stage with front legs and then with a nose, knocking over the barrel, "limping" across the stage with one front leg held off the ground, and pushing the trainer over with a nose-butt. Cuts to the six ponies lined up at the back of the stage, with each pony's head lying over the neck of the pony in front of him. Cuts to the ponies circling the trainer in a straight radial line and then in various combinations, including three by three, pairs, and singly. The ponies finish their circling by walking in a straight line to the front of the stage and then bowing on their knees. Cuts to a closeup of the six ponies in a line, facing the camera, which closes in an iris effect to black
Three jumping Tommies( Visual )

1 edition published in 1920 in English and held by 1 WorldCat member library worldwide

Opening title introduces "Three jumping Tommies in their original acrobatic stunts," with "Tommies" apparently referring to the performers' British military uniform costumes of caps, shirts and ties, knickers to the knees, tights, and short boots. Cuts to a long shot of a stage with a painted backdrop of a garden with fountains. From stage right march three young men; a short boy flanked by two taller men. As they reach center stage, the three turn to the camera and salute, then toss off their caps. The three acrobats perform a variety of acrobatic and gymnastic stunts, including backflips from another's handhold, cartwheels and somersaults where no hands touch the floor, leaping spins similar to cartwheels but with the upper torso parallel to the floor, and a lively shuffle dance interspersed with cartwheels, spins, and twirls. One of the taller boys also performs a series of slow, somewhat comic backwards somersaults, then does a series of handsprings in place at center stage as the other two perform kicks from handstands on either side
Jumbo, the trained elephant( Visual )

1 edition published in 1919 in English and held by 1 WorldCat member library worldwide

Cuts to Jumbo climbing on the circus stool with all four legs. The trainer gives her one end of a rope to hold with her trunk, and he twirls the other end as the dog jumps the rope. The trainer and the dog then jump the rope together as Jumbo watches. Cuts to the elephant sitting on the stool as the trainer places a handbell on a small table in front of her. Jumbo picks up the bell with her trunk and rings it. The man sets a plate on the table, from which Jumbo eats and then tosses aside. She rings the bell again and appears to drink from the bottle which her trainer brings in response. A series of jump cuts show Jumbo crawling on the ground in a circle on her back knees, standing on her hind legs, performing a handstand on her front legs, balancing on the circus stool with various combinations of two legs, and dancing in place with her front legs. Cuts to a frame of intertitle: "Oh! How she dances." With her back to the camera, Jumbo shuffles her hind legs in a kind of dance. Cuts to a closeup of Jumbo's open mouth as she walks toward the camera. Closes with her picking up a series of flags on the ground with her trunk and tossing them over her back. She holds the last one--a U.S. flag--as she turns in a cirle, the trainer bows, and the dog excitedly jumps around on stage
Kruger and Ward( Visual )

in English and held by 1 WorldCat member library worldwide

Film cuts to the same stage and backdrop, now with a hanging trapeze bar and two rings. Onto the stage walks the tall clown, now dressed in a sleeveless shirt and satiny, ruffled bloomers to mid-calf with tights. Following him is the dwarf, no longer in facepaint or wearing the fake pate. The clown mounts the bar and assumes a contortionist position that demonstrates his limberness by apparently folding his torso in half. From this position, the clown lifts the dwarf off the ground with a rope which the small acrobat grasps in his teeth. As he hangs by his mouth, the dwarf sheds his tuxedo to reveal a satiny sleeveless shirt and pants to the knee with tights. The camera pans down to follow him as he releases the mouth grip and gestures to the camera. Cuts to a closeup of the dwarf, now shirtless, from the back as he contorts and perhaps dislocates his shoulders. He turns around and continues contorting and flexing his upper muscles
Billy Whiskers( Visual )

1 edition published in 1987 in English and held by 0 WorldCat member libraries worldwide

William B. Whiskers is a billy goat who, with the aid of trick photography, finds himself in a variety of human situations. This tape has four of the short Billy Whiskers films, 'In the life of a fireman'; 'The soda water clerk'; 'In the taxi business'; 'In bed with the police'
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Audience Level
Audience Level
  Kids General Special  
Audience level: 0.39 (from 0.27 for The great ... to 1.00 for Billy Whis ...)

Alternative Names
Spanuth, H. A.

Spanuth, Harry

English (12)