Visitors come and go to the thermal springs of Le Mont-Dore. Some are wrapped up in warm garments, some arrive in palanquins.
A small boy brings a plate of milk to a big cat, grooming itself.
In August 1911, Serbian producer Svetozar Botoric and Louis de Beery (former Pathé’s cinematographer) left Belgrade to film a country wedding. With the bridal procession of 300 guests bringing together all the social classes of the time, we follow the young married couple step by step : at home, then at the wedding luncheon beneath the old oak trees, and finally smiling at the party that presents a really beautiful account of Kolo, a traditional Serbian dance.
With a dual motion a cruise ship and a fishing boat pass one another on the Nile and butlers in turbans set up a wooden gangway. Thanks to a rope and pulley system cows climb skywards then disappear into the hold of the sailing vessel. On the bank, black-haired women rock back and forth, bursting out laughing and showing the first signs of going into a state of trance. Never-before filmed gestures and faces of the people of the Nile succeed one another, uprooted to an unknown, magical world. The Banks of the Nile is one of the first experiments of film in colour that uses the Kinemacolor process.
Sailors training with swords.
Three men are chopping and transporting firewood, among passers-by, on a square in Lausanne.
Women hauling coke in wheelbarrows.
Cuirassiers charge the camera on horseback.
"Percy Smith (1880-1944) was world famous as a photographer of plant life. Probably the first British example of time-lapse photography as applied to the growth of plants." Monthly Film Bulletin, November 1955.
The film begins with a shot of Wilbur Wright starting the engine; an unidentified assistant (quite likely his brother, Orville) is seen at the front of the aircraft. From there, shots of the aircraft in flight with Wright at the controls along with an unidentified passenger cut to shots of onlookers on the ground, presumably military and press liaisons. The aircraft is shown in side-to-side flybys as well as low-altitude passes directly toward and away from the camera. The aerial shots begin at the 1:34 mark immediately after a shot of the aircraft coming to a landing directly approaching the camera. (Wikipedia)
A 10 minute long journey of emotions that befall children faces. Fear, Curiosity; a Smile. They all sit in a dark theater. What they see, we don't; we can only guess from their faces.
Consisting of a single shot, Spiders on a Web is one of the earliest British examples of close-up natural history photography. Made by one of the pioneers of the British film industry, G.A. Smith, this short film details spiders trapped in an enclosure, and despite the title, does not actually feature a web.
Madame Ondine performs a serpentine dance surrounded by big cats.
A regiment of soldiers demonstrate their skills.
The 1900 Paris World's Fair as seen from Trocadéro.
Workmen fix a walkway with bitumen.
A view of Piccadilly Circus in London.
A gentleman is here shown partaking of a little lunch of bread and cheese, and occasionally is seen to glance at his morning paper through a reading glass. He suddenly notices that the cheese is a little out of the ordinary, and examines it with his glass. To his horror, he finds it to be alive with mites, and, in disgust, leaves the table. Hundreds of mites resembling crabs are seen scurrying in all directions. A wonderful picture and a subject hitherto unthought of in animated photography. Notable for being the first science film made for the general public.
The official record of Mallory and Irvine's 1924 expedition. When George Mallory and Sandy Irvine attempted to reach the summit of Everest in 1924 they came closer than any previous attempt. Inspired by the work of Herbert Ponting (The Great White Silence) Captain Noel filmed in the harshest of conditions, with specially adapted equipment, to capture the drama of the fateful expedition.
Filmed on the 100th anniversary of the labour union laws in France, the quasi-science fiction film is set in 2084. A robot moderator helps us look 'back' at the contemporary labour situation and different directions the movement could take.
A look at the artwork of Aleister Crowley.
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