Gore 1904

Using every known means of transportation, several savants from the Geographic Society undertake a journey through the Alps to the Sun which finishes under the sea.

Documentary on the process of hay-making, from the cutting of the grass to the stacking of the hay.

A magician conjures up a mermaid while fishing.

The background of this picture represents a scene along the beautiful river Seine in Paris. A gentleman enters, and taking a blackboard from the side of the picture, he draws on it a sketch of a novelist. Then, standing in the centre, he causes the living features of his sketch to appear in the place of his own, which is utterly devoid of whiskers. The change is made so mysteriously that the eye cannot notice it until one sees quite another person in the place of the first. Again another sketch is shown on the board, this one being that of a miser; then an English cockney; a comic character; a French policeman, and last of all, the grinning visage of Mephistopheles. It is almost impossible to give this film a more definite description; suffice it to say that it is something entirely new in motion pictures and is sure to please. (Méliès Catalog)

A “madman” escapes prison and the torments of his warders.

A turbine is shown operating.

As a conjurer awaits an audience, a procession announces the arrival of a royal representative, carried in a sedan chair, to see him. The conjurer then has a large box brought in. It is opened, revealing a very large folding fan. When the fan is spread out, the designs on it begin to change and move. And this is far from the last of the surprises that the conjurer has in store.

A Chinese conjurer stands next to a table, it becomes two tables. A fan becomes a parasol, lanterns appear and disappear. The conjurer spins the open parasol in front of himself, and a dog leaps out from behind it. The dog becomes a woman, then a masked man appears. The conjurer sits them each on a box a few feet apart: suddenly the woman and man have changed places. The disappearing and the transfers continue in front of a simple backdrop.

A remake of Edwin S. Porter's film of the same title.

The adventures of an inattentive man who can't look away from his book.

Georges Melies the magician. Melies removes his own head, puts it in a glass box on a stool, then grows another one. Melies lights up a cigarette and blows smoke at his old head. The head gets payback by levitating above Melies and spewing water on him.

Chronophotograph record of a ball falling through a soap bubble.

A camera moving forward on an overhead crane gives a traveling view of men working on machinery. Carts carrying parts and pieces of machinery pass by on rails; cranes lift machinery; and men perform their various duties, including hammering objects. (Library of Congress)

A poor family in a rundown house where snow falls through the broken roof, there's no coal to heat the pathetic little stove, mother is sick, father sends daughter out to beg. Rejected by other beggars, the girl collapses in the snow…

Pierrot goes to the house of his love to serenade her, but her father kicks him out. Soon the moon and its goddess Diana come towards the man and offers him something better.

Billy Bitzer filmed 21 short actualities inside the Pittsburgh Westinghouse Works in April and May of 1904. Audiences of the day would have been treated to footage of factory panoramas, women winding armatures and turbines being assembled. These industrial films were produced for the American Mutoscope & Biograph Company.

An inquisitor and two of his henchmen burn a woman at the stake. An angel intervenes.

A sexton reforms after dreaming of abduction by goblins.

Rows of women are shown at tables with winding machines. They wind using material from spools behind them, apparently putting the finished products on the table in front of them. Various supervisory staff, male and female, walk through the aisles, checking the work of the women.

This Gaston Velle movie from 1904 was a fairly venturesome piece of film-making for the era. First, its credits include Jules Verne: his second after the Méliès TRIP TO THE MOON a couple of years earlier. Second, it uses a dozen cuts, irised lenses -- the balloonists' views through their telescope -- panning shots, combined images and tints. The tints were standard for the era, but everything else had to be achieved with great difficulty. In an era when most movies still lasted a minute with a stationary camera and a single set-up, this was pretty much state of the art.