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Sioux Ghost Dance (1894)
From Edison films catalog: One of the most peculiar customs of the Sioux Tribe is here shown, the dancers being genuine Sioux Indians, in full war paint and war costumes. 40 feet. 7.50. According to Edison film historian C. Musser, this film and others shot on the same day (see also Buffalo dance) featured Native American Indian dancers from Buffalo Bill’s Wild West show, and represent the American Indian’s first appearance before a motion picture camera.
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Bucking Broncho (1894)
Lee Martin, one of the cowboy stars in ‘Buffalo Bill’s Wild West’, rides a bronco as a crowd looks on. While the horse is trying to throw Martin off its back, another cowboy stands on top of a fence rail and occasionally fires his six-shooter, to spur on both horse and rider.
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Lone Fisherman (1896)
A fellow in a wide-brimmed hat, with a willowy stick for a rod and a baited hook, sits down on a plank hanging over a bridge above a stream. He sticks the rod under his seat and picks up his bottle to take a swig. Behind him creeps a joker who removes the large flagstone that’s holding the fisherman’s plank in place (IMDb)
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Cupid and Psyche (1897)
“By the Leanders. The dress of one consists of a pair of wings and a bow and arrow; the other represents a fairy. Bathers in all stages of dress and undress watch the graceful dance.” (Edison film catalog)
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Arrest in Chinatown, San Francisco, Cal. (1897)
The title tells us where we are; the vignette is in two parts, spliced together. On a busy sidewalk, a police officer holds the left arm and a suited man holds the other of a Chinese wearing a loose white shirt and hat – marching the man up the slight incline past the camera.
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Shooting Captured Insurgents (1898)
“A file of Spanish soldiers line up the Cubans against a blank wall and fire a volley. The flash of rifles and drifting smoke make a very striking picture.” (Edison film catalog)
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Statue of Liberty (1898)
There is no movement, just the Statue of Liberty, right profile. No people, no flags rippling in the wind, no seagulls flapping past to mar the unmoving image of the Statue of Liberty.
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Mesmerist and Country Couple (1899)
“Mr. and Mrs. Hayseed have heard of this wonderful Professor, and come to his office. They waken him from a trance, give him a fee and he hypnotizes them. The stunts they do while under his influence would make the Sphinx laugh for joy. Hayseed stands on his head, balances himself on a chair and takes off his clothes. Mrs. Hayseed also begins to disrobe, but she goes behind a screen. Her bare arm appears over the top, and she drops her clothes on the floor. It is a hair raising moment to guess what she’s going to do next. The mystical appearances and lightning changes are managed with wonderful cleverness.” (Edison film catalog)
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Why Mrs. Jones Got a Divorce (1900)
This scene opens by showing a pretty cook mixing bread in the kitchen. Jones comes in unexpectedly from a trip and carries a dress suitcase. He inquires for his wife and is told by the cook that she is absent. Jones is hungry and asks for something to eat. The cook is very obliging and Jones becomes unruly, chuckles the cook under the chin. The cook puts her arms around Jones’ neck and leaves finger imprints of flour on his back. This is where the trouble commences. (Edison catalogue)
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English Lancers Charging (1900)
The stubborn resistance of the Boers is shown by the activity and persistency with which they fire the two large field pieces immediately in the foreground. It seems, indeed, a hopeless matter to attempt to capture and overthrow such an invulnerable position. The British lancers are seen advancing, urged on by their officers, with the Royal colors flying in the air.
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