Film von William Kennedy-Laurie Dickson (Foto: British Film Institute)

The Victorians on the Big Screen: Filme der British Mutoscope and Biograph Company (1896–1902)

Regie: William Kennedy-Laurie Dickson u.a. DCP (von 68mm), sw, 85 min
 
Die Filme im Detail:

Introducing the Mutoscope and Biograph
The Wonderful Mutoscope (1900) / American Biograph at the Palace (1899) / The American Biograph in Circus O. Carré (1898)
 
Victorian Life
Me and My Two Friends (1898) / Launch of the Worthing Lifeboat (1898) / Pelicans at the Zoo (1898) / Australian Cricket Tourists of 1899 (1899) / Oxford and Cambridge Boat Race (1899) / Iron Foundry Workers (1900) / Launch of the Oceania (1899) / The Lane on Sunday (1899) / Henley Regatta (1901)
 
Queen Victoria, royals and other celebrities
Queen Victoria's Diamond Jubilee Taken from Apsley (1897) / Afternoon Tea in the Garden at Clarence House (1897) / Pope Leo XIII Carried through the Vatican Loggia on His Way to the Sistine Chapel (1898) / Her Majesty the Queen Arriving at South Kensington (1899) / King Edward's Arrival at Helsingor (1901)
 
England Expects ...
Charge of the Carabineers, Aldershot (1898) / Warships at Sunset (1900) / Four Warships in Rough Seas (1900) / Battleship Odin firing all her Guns (1900)
 
The Biograph in Battle
Repairing the Broken Bridge at Frere (1899) / Rifle Hill Signal Station near Frere Camp (1899) / Naval Guns Firing at Colenso (1899) / Battle of Spion Kop: Ambulance Corps Crossing the Tugela River (1900) / Gordon Highlanders in Ladysmith (1900) / Ladysmith – Naval Brigade Dragging 4.7 Guns into Ladysmith (1900)
 
Ad Break
Rudge-Whitworth – Britain's Best Bicycle (1901/2) / Spirit of His Forefathers (1900)
 
Up for a Laugh
Herbert Campbell as Little Bobby (1899) / Kissing Couple Caught by a Photographer (1898) / The Barber Saw the Joke (1900) / Agoust Family of Jugglers (1898)
 
The Victorian Stage
King John (1899) / He and She (1898) / Zola-Rochefort Duel (1898) / Biche au Bois (1896)
 
Let's Go For a Ride
Prestwych Platform (c. 1900) / Menai Bridge – The Irish Day Mail from Euston Entering the Tubular Bridge over the Menai Straits (1898) / Conway Castle – panoramic view of Conway on the L.& N.W. Railway (1898) / Irish Mail – L.& N.W. Railway – Taking up Water at Full Speed (1898) / Through Miller's Dale (Near Buxton, Derbyshire) Midland Railway (1898) / Tram Journey through Southampton (1900) / Waves Breaking (1896) / Vienna Street Scenes (1896) / Panoramic View of the Vegetable Market at Venice (1898) / Grand Canal Venice (1898) / Feeding the Pigeons in Saint Mark's Square, Venice (1898) / Neapolitan Dance at the Ancient Forum of Pompeii (1898) / Panorama of Grand Harbour, Malta, Showing Battleships (1901) / Georgetown Loop (1901)

Bereits in den frühen Kinojahren wurden fast alle Möglichkeiten des neuen Mediums erforscht: Der Großformatfilm – um ein vierfaches größer als das damals übliche 35mm – erstaunte das Publikum mit der Tiefe und Klarheit der neuen Laufbilder. Wie bei so vielen obsoleten Technologien ging die Mehrheit dieser erstaunlichen Werke verloren, aber die glücklichen "Überlebenden" aus den Beständen des British Film Institute und des EYE Filmmuseum wurden digital restauriert (in 8K) und vom BFI im Oktober 2018 erstmals wieder präsentiert – auf einer IMAX-Leinwand. Es handelt sich dabei um die 68mm-Werke der British Mutoscope and Biograph Company, wo der eben von seiner Zusammenarbeit mit Thomas Edison aus den USA zurückgekehrte Ingenieur William Kennedy-Laurie Dickson als kreativer Kopf wirkte. Seine Bilder der viktorianischen Welt – von Queen Victoria und offiziellen Großereignissen über das pulsierende Stadtleben und kleine menschliche Vignetten bis zu raren Fragmenten aus dem Burenkrieg und erstaunlichen Naturaufnahmen bieten eine einzigartige Möglichkeit, sich tief in eine vergangenen Epoche zu versenken.
 
In Anwesenheit von Bryony Dixon (British Film Institute)
 
Am Klavier: Elaine Loebenstein
 
Courtesy of BFI


Story from the archive: The bold experimenters at the dawn of the moving picture revolution were quick to explore all the possibilities of the new medium. The large-format film was one way to astound audiences with the depth and clarity of the new moving images as they were projected onto a massive screen. Since they were first shown, these large-format films have been in the wars – mostly lost, as obsolete technologies tend to be, while the lucky survivors have invariably lost frames with the ravages of time. But now the survivors have been digitally restored (in 8K) and presented on an IMAX screen in October 2018. The majority of these films were made by the British Mutoscope and Biograph Company, whose chief technician, cameraman and creative spirit was William Kennedy-Laurie Dickson, who joined the company upon his return from America, where he had been working with Edison. The films record the events of the Victorian calendar, from thrilling sporting events to grand military parades, and more extraordinary events, such as the Boer War. Today, as a new revolution in the art and technology of moving images is again transforming the way we see the world, it’s a good moment to reflect on how the first film audiences saw their own world projected on a big screen.

Screening dates: