WorldCat Identities

Thomas A. Edison, Inc

Works: 1,087 works in 1,358 publications in 1 language and 18,539 library holdings
Genres: Short films  Documentary films  Nonfiction films  History  Silent films  Actualities (Motion pictures)  Criticism, interpretation, etc  Social problem films  Games  Western films 
Roles: Producer, prn, Dedicatee
Classifications: PN1993.5.A1, 791.430973
Publication Timeline
Most widely held works by Thomas A. Edison, Inc
Edison : the invention of the movies by Thomas A Edison( Visual )

2 editions published in 2005 in English and held by 703 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 379 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 ( Visual )

2 editions published between 1994 and 2002 in English and held by 350 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
Picasso and Braque go to the movies( Visual )

1 edition published in 2011 in English and held by 243 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
Experimentation and discovery( Visual )

3 editions published in 2002 in English and held by 231 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
Army pack train bringing supplies( Visual )

5 editions published in 1906 in English and No Linguistic content and held by 205 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 196 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
U.S. troops landing at Daiquirí, Cuba( Visual )

3 editions published in 1898 in English and No Linguistic content and held by 194 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
Move on( Visual )

3 editions published in 1903 in English and held by 193 WorldCat member libraries worldwide

From a contemporary Edison film company catalog: MOVE ON. In certain sections of New York City large numbers of Jewish and Italian push-cart vendors congregate so closely along the sidewalks that they interfere with traffic. Policemen keep them moving. The picture shows how the frightened peddlers hurry away when a bluecoat appears. Some of the carts are piled high with fruits of all kinds, and it is interesting and amusing to see the expressions of combined fear and anxiety on the faces of the men as they hurry away; the fear of being arrested if they stand, and of losing some of their wares if the carts strike an obstruction in the street
What happened on Twenty-third Street, New York City( Visual )

5 editions published in 1901 in English and held by 189 WorldCat member libraries worldwide

From a contemporary Edison film company catalog: WHAT HAPPENED ON 23d STREET, NEW YORK CITY. Unbarbour [code for telegraphic orders]. 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. Class B. 50 ft. $6.00
Esquimaux leap-frog( Visual )

4 editions published in 1901 in English and held by 189 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 189 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
A trip around the Pan-American Exposition( Visual )

3 editions published in 1901 in English and held by 186 WorldCat member libraries worldwide

From a contemporary Edison film company catalog: A TRIP AROUND THE PAN-AMERICAN EXPOSITION. Ungeprueft [code for telegraphic orders]. The Pan-American Exposition is encircled by an especially constructed canal, which was put in for the purpose of allowing the tourist to view the exterior of the buildings of the Pan-American Exposition with as little fatigue as possible. It is called the Grand Canal, is over a mile in length and extends around the central group of large buildings. Winding lagoons connecting with the canal branch off in all directions. The Mirror Lakes in the Southern portion of the canal form a picturesque feature and add ten fold interest to this picture. The electric launches which make the trip around the exposition, and which are controlled by the Venice in America Co., represent the climax of comfort and elegance. The ride is a refreshing one with charming views at every turn. Romantic bridges span the waterway at convenient points, statuary placed everywhere contribute to the picturesque effect. The above named picture was secured by special permission of Mr. Burgee, of the Venice in America Co., and our picture was made from the bow of an especially chartered electric launch which made the trip for us at a high rate of speed. We give below as near as possible a detailed description of the different points of interest as they are recorded by the camera, and just as they are viewed by the visitor himself in making the trip in one of these exquisite launches. The launch in which our camera was placed started from the landing place in the Streets of Venice, which is situated on the west side of the Exposition grounds facing the Midway. The canal makes a quarter circle eastward, and our boat passes under the west Mall bridge, making an abrupt turn northward and continuing on its course past the Bazaar Building and to the African Village, when it swings suddenly to the eastward and makes a complete circle of the Electric Tower, turning its many corners and passing under a number of beautifully constructed bridges, over which multitudes of people are seen wending their way [end of part 1]. In the trip from the Streets of Venice to the Electric Tower we pass many electric launches, and gondolas laden with tourists who are making merry as our camera passes them. Three of the gondolas contain the Venetian Band and many of the pretty girls of the Streets of Venice, all of which attend to make the picture highly interesting. Having encircled and passed the Electric Tower, our boat takes an eastward course until it reaches the Stadium, when it passes under another of the exquisite bridges and turns abruptly to the south. Continuing its southern course it passes the east entrance of the U.S. Government Building and the U.S. Ordinance Exhibit, where the heavy artillery and large disappearing guns are observed mounted in their respective places. Our launch then swings to the eastward and continues a short distance when it again takes a southerly course and passes the south entrance of the U.S. Government Building, approaches and passes the Forestry and the grounds of the Six Nations of the American Indians, where their camps, log huts, wigwams, etc., are observed. We then turn to the eastward passing under a series of bridges with sculptural decorations that are unexcelled, and merging into the east end of Mirror Lake. Now comes the most interesting portion of this wonderful film. We follow in an easterly direction through Mirror Lake, skirting the north bank and taking in the pergola, and bearing steadily toward the main entrance and Fore Court of the Exposition grounds [end of part 2]. Here we pass directly under the Colonnades into the submarine water channel and through what is known as the Grotto. The effect of running from an open lake into a beautiful tunnel decorated with tropical foliage of all description is most novel. After passing through this grotto, which consumes about one minute of time, the west end of Mirror Lake suddenly comes into view, and we pass out on to the open waters of the lake where we are presented with an entirely new and enchanting panorama of the west side of the Exposition. The launch continues on this course taking in the north bank of the West Mirror Lake with the west pergola in the background, and passing the Mines Building, the Esplanade Fountains, the Horticultural Exhibits, the Southwest Midway, under the beautiful bridge which forms the main approach to West Midway from the Esplanade, and turning suddenly to the northward runs under a bridge of Venetian architecture, and finally merges into the Streets of Old Venice. This is the end of the trip around the Exposition and the climax of the picture. Great crowds are assembled in the Streets of Old Venice and one can imagine himself to be in reality floating through the old European city of canals. In this entire picture we present a most diversified panorama. The constant turns of the canal and the many bridges which span it furnish the audience with something new to look at during almost every second of the trip
Pilot boats in New York harbor( Visual )

4 editions published in 1899 in English and held by 186 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
Skyscrapers of New York City, from the North River( Visual )

4 editions published in 1903 in English and held by 186 WorldCat member libraries worldwide

Filmed from a moving boat, the film depicts the Hudson River (i.e., North River) shoreline and the piers of lower Manhattan beginning around Fulton Street and extending to Castle Garden and Battery Park. It begins at one of the American Line piers (Pier 14 or 15, opposite Fulton Street) where an American Line steamer, either the "New York" or "Paris," is seen docked [Frame: 0120]. The camera passes one of the Manhattan-to-New Jersey commuter ferries to Jersey City or Communipaw [0860]. Proceeding south, the distinct double towers of the Park Row, or Syndicate Building, erected in 1897-98, can be seen in the background [0866]. A coastal freighter is next [1560], then Trinity Church appears, to the left of which can be seen the Surety Building, as a tug with a "C" on the stack passes in foreground [2032]. Several small steamboats come into view [2136], and the B.T. Babbitt Soap factory at Pier 6 is seen [2300], followed by the Pennsylvania Railroad piers (#5 & #4), with a group of docked railroad car floats [2556], and the Lehigh Valley Railroad piers (#3 & #2), also with car floats [3030]. Next are the Bowling Green Building (rectangular, with facade to camera) [3208], the Whitehall Building (vertical, thin side to camera) [3388], followed by Pennsylvania Railroad Pier #1 [3630]. Pier A (with a clock tower) is seen with the New York Harbor Police steam boat "Patrol" at its end [4654]. The Bowling Green Offices and the Produce Exchange at Bowling Green are visible in the background. The breakwater (sheltered landing) and the New York City Fireboat House appears [5270] and the distinctive round structure, Castle Garden, once a fort and immigrant station, but at the time of filming the City Aquarium, comes into view [5438]. The camera then pans east along the Battery Park promenade: the Barge Office (with tower) is visible in the distance [5804], and further out the Brooklyn shoreline with the grain elevators at Atlantic Avenue can be seen [6088]. This view is continued, with only a minor break in continuity, in the film Panorama of Sky Scrapers and Brooklyn Bridge From the East River. Together they comprise a sweep around the southern tip of Manhattan, from Fulton Street on the Hudson to the Brooklyn Bridge
President McKinley's speech at the Pan-American Exposition( Visual )

4 editions published in 1901 in English and held by 186 WorldCat member libraries worldwide

The film begins by showing the introductory speaker at the Pan-American Exposition in Buffalo. The speaker introduces the incumbent president of the United States, William F. McKinley. The remainder of the film is a straight-on moving photograph of the president during his last public speech
Panoramic view of the President's house at Canton, Ohio( Visual )

4 editions published in 1901 in English and held by 186 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
Circular panorama of Electric Tower( Visual )

3 editions published in 1901 in English and held by 186 WorldCat member libraries worldwide

From a contemporary Edison film company catalog: CIRCULAR PANORAMA OF THE ELECTRIC TOWER. 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
President Roosevelt at the Canton station( Visual )

4 editions published in 1901 in English and held by 186 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
President McKinley and escort going to the Capitol( Visual )

4 editions published in 1901 in English and held by 186 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
moreShow More Titles
fewerShow Fewer Titles
Audience Level
Audience Level
  Kids General Special  
Audience level: 0.32 (from 0.27 for Edison : t ... to 0.72 for Edison dis ...)

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


English (102)