- Détails
- Création : 25 mars 2015
- Mis à jour : 4 avril 2024
- Publication : 25 mars 2015
CHICAGO
Jean-Claude SEGUIN
Chicago est une ville de l'état de l'Illinois (États-Unis).
94
Le kinetoscope parlor (State Street 148, [17]->28 mai 1894)
En mai 1894, un kinetoscope parlor de dix appareils est installé sur la State Street :
The new Edison device for recording and reproducing scenes of people and objects in motion is being exhibited at No 148 State street for the first time in Chicago. There are only twenty-five machines in existence and ten are in operation in Chicago. To many the new invention will seem marvelous as it records the most intricate movements with exactness. It is accomplished by a mechanical device operated by electricity, so constructed as to run films containing the pictures in slightly varying positions past a given point at the speed of forty-six times each second. Among the scenes in the machines now in operation are the interior of a barber shop in which smoke from a cigar held by one of the figures is clearly distinguishable, a wrestling match, a young girl in the act of dancing, a forge scene, a cock fight and others. It is a device which, if not as practicable as some which have emanated from Mr. Edison’s genius, is quite as wonderful.
Chicago Tribune, Chicago, 28 mai 1894, p. 6.
Les titres projetés font partie des premières bandes commercialisées par Edison.
Le Kinetoscope Parlor (State 57/Masonic Temple, >21 juin->3 novembre 1894)
Chicago. Masonic Temple. (c. 1891)
Un kinetoscope Parlor est annoncé au Masonic Temple en juin :
THE WHOLE COUNTRY IS TALKING ABOUT the freefight before Edison and his kinetograph the other day.
It will be reproduced in Chicago shortly at the Edison Kinetograph Parlor,
57 State-st. (Masonic Temple).
The Chicago Daily Tribune, Chicago, jeudi 21 juin 1894, p. 4.
Au début du mois de novembre, on présente "The Great Prize Fight".
The Inter Ocean, Chicago, dimanche 4 novembre 1894, p. 16.
95
L'eidoloscope (nº 117 South Clark, 15 juillet 1895)
L'eidoloscope Latham s'installe à Chicago vers le milieu du mois de juillet 1895. L'un des deux fils de Woodville Latham, très probablement Otway, est venu pour superviser l'installation. Quant à George Porter, il est sans doute le responsable local de l'appareil. Une première séance privée a lieu le lundi 15 juillet :
A private view of Latham's eidoloscope will be given to members of the Chicago press and their families next Monday evening at 8 o'clock.
Chicago Tribune, Chicago, Sunday 14 juillet 1895, p. 6.
Si l'on en croit le compte rendu publié le lendemain de la projection privée, des problèmes techniques vont se produire lors de la mise en place de la soirée :
EIDOLOSCOPE IS A MARVEL
Realistic Prize Fight, Dancing, and Horse Racing Are Shown.
[…]
Under adverse electrical and other conditions, a view of Professor Latham new invention, the eidoloscope, was tendered members of the Chicago press at No. 117 South Clark street last evening. The instrument, though hampered by imperfect adjustment, due to lack of time, an imperfect screen, and poor electrical power, demonstrated that its inventor had worked out a really wonderful machine. The little room where the screen had been pitched was filled long before the time for the exhibition. Some delay ensued because of the unusually adverse conditions that invariably obtain when an inventor wants to do his best, but at 8:30 o'clock there was thrown on the screen the first picture of moving life. It consisted of a four-round prize fight between "Young" Griffo, known to Chicagoans, and Charley Barnett, of New York. The film reproduced four peppery rounds between the combatants, in which every lead, counter, duck, and side step could be plainly seen. Then followed a fancy dance by two young girls, embracing the well-known flip-flap, somersault, and "split." The final picture gave the finish in the recent Suburban handicap.
Mr. George Porter, previous to the exhibition, explained that certain essentials were lacking, and that the views would be imperfect. On the whole the views were vivid enough to call for exclamations of wonder from those who witnessed them, as showing the principle of the instrument, and its possibilities. Professor Latham's son. who is here with the instrument, promises to give a supplementary view to the press, in which the pictures will be unmarred by lack of the proper essentials.
The Inter Ocean, Chicago, mardi 16 juillet 1895, Tuesday, p. 8
Ça n'est finalement qu'au bout d'une demi-heure qu'une projection imparfaite commence. Malgré ces difficultés, l'eidoloscope impressionne le journaliste. Trois films sont signalés dans l'article: Griffo-Barnett Fight, A Fancy Dance et The Suburban Handicap.
L'eidoloscope (The Schiller, [21] juillet->[28] juillet 1895)
Quelques jours après la séance privée, l'eidoloscope de Latham offre ses premières projections publiques dans le Schiller Theatre, à la fin juillet et peut-être au début du mois d'août.
Chicago Tribune, Chicago, 21 Juillet 1895, p. 36.
L'eidoloscope (Olympic, 25-[31] août 1895)
Vers la fin du mois d'août, l'eidoloscope Latham est annoncé, pour une semaine, dans une autre salle de Chicago, l'Olympic. Le journaliste éclaire les lecteurs sur les deux appareils , la caméra et le projecteur :
OLYMPIC.
That wonderful invention, the eidoloscope, will constitute one of the features of the Olympic's show this week. The invention really consists of two instruments, the eidolograph, which is capable of taking 120 perfect pictures in a second, or 7.200 in a minute, and the eidoloscope, which projects them upon the screen or canvas. No matter how rapid the motion of an object, an instrument that records this number of positions in a minute makes a continuous picture, as the eye is incapable of noting anything like so small a fraction of any movement as is contained in one 7.200th part of a minute. Horse races, prize-fights, wrestling matches, skirt dances, and the like are shown upon a screen in any sized picture desired, but, of course, life-sized is ordinarily used. […]
The Inter Ocean, Chicago, samedi 25 août 1895, p. 33.
Il semble que les films présentés soient les mêmes.
L'eidoloscope (Kohl & Middleton's Clark Street Museum, 1er-[15] septembre 1895)
Dès le 1er septembre, l'eidoloscope s'installe dans une autre salle, le Kohl and Middleton’s Dime Museum, sur Clark Street, qui accueille des spectacles de variétés, des curiosités anatomiques, des magiciens comme Houdini et les nouveautés comme les vues animées :
Latham's eidoloscope and Prince Lutgard, the midget, wille prove attractions at Kohl & Middleton's Clark Street Museum this week.
Chicago Tribune, Chicago, 1er septembre 1895, p. 37.
Kohl and Middleton's Dime Museum (Ã gauche) (1889) [D.R.]
Il est probable qu'Otway Latham quitte Chicago peu après pour se rendre à l'appareil reparte peu après, car il est annoncé à Atlanta où il va superviser l'installation de l'eidoloscope. À Chicago, les séances continuent dans les jours suivants :
Among the features that will be exhibited at Kohl & Middlesonl's Clark Street Dime Museum this week are the strongest man on earth, who lifts four men with his little finger, eight men with one hand, and as many men with his teeth; a living skeleton, the thinnest man on earth; a magician, a musical albino, an expert wood carver, educated goats, and Latham's eidoloscope...
Chicago Tribune, Chicago, dimanche 15 septembre 1895, p. 36.
L'eidoloscope (Frank Hall's Casino, <20> octobre 1895)
En octobre, l'eidoloscope est toujours à Chicago, même s'il change à nouveau de salle. En octobre, on le retrouve au Frank Hall's Casino:
At Frank Hall's Casino an excellent bill of "straight" specialties will be presented. It is headed by John and Nellie McCarthy, comedy sketch artists; and includes Mme Traxen, serial suspensionist; the eidoloscope...
Chicago Tribune, Chicago, dimanche 20 octobre 1895, p. 36.
96
Le Cinématographe Lumière de Mr Freeman (Schiller Theatre, 14 septembre1896-février 1897)
Schiller Theatre Building (c. 1900)
À la différence de New York, Philadelphie et Boston où l'exploitation du cinématographe Lumière est assurée par la chaîne de théâtres de Benjamin F. Keith, à Chicago c'est le manager Robert Blei qui va présenter le cinématographe dans le Schiller Theatre dont il devient le manager au cours de l'année 1896 :
ROBERT BLEI GETS THE SCHILLER
Former Manager of the Orpheus Obtains Three-Year Lease of It.
It was announced last night by Robert Blei’s representative, Mr. Freeman, that Mr. Blei had yesterday secured control of the Schiller Theater and would assume possession Oct. 1. According to Mr. Freeman it is Mr. Blei’s intention to conduct the Schiller as a high-class vaudeville house, with prices running up from 25 cents to $1.
This afternoon Mr. Freeman will leave for New York, and possibly for London and Paris, to secure attractions, but it may be that the new manager will find that he will be unable to obtain numerous enough features in time to open on the date set. In that case he will attempt to make an arrangement by which David Henderson, who has been running comic opera in the Schiller for some time part, will be permitted to continue until Nov. 1.
Robert Blei first became known to Chicago when he took possession of the North Side concert hall which for many years had been under the management of A. Engel and changed the name of it to the Orpheus. He conducted this resort for about a year and made a success of it. It is understood that the rent he has contracted to pay for the Schiller amounts to about &25,000 a year. He has a lease for three years, with the privilege of renewal for two years.
Chicago Daily Tribune, Chicago, 19 août 1896, p. 5.
On retrouve ici le rôle que joue à l'époque William Freeman dans la diffusion du cinématographe Lumière aux États-Unis. Il est l'homme clé de son exploitation après les premiers mois au cours desquels c'est Keith qui présente le nouvel appareil dans ses salles. À Chicago, la situation est un peu particulière. Dès la fin du mois d'août 1896, la presse annonce la future arrivée du cinématographe (Chicago Daily Tribune, Chicago, 30 août 1896, p. 29). Mais ici, l'ouverture du poste coïncide avec le passage d'Alexandre Promio qui est là pour prendre des vues pour alimenter le catalogue :
The electrician for the Cinematograph has been in the city all week, fixing the wires and switchboard, and on Friday two of Lumiere's photographers are expected, who will take views of the leading places of interest in Chicago, such as the newspaper offices, the interior of the board of trade, the bathing at Windsor Park beach, Michigan avenue at 5 o'clock, Rush street bridge, the harbor, Washington Park, the Ferris wheel, and similar resorts.
[...]
The French inventor who owns and controls the cinematographe guards all his rights very jealously and will not even allow the lessees of his instruments to take their own pictures. He has recently sent four operators to this country to take local views at the special request of Managers Keith and Blei, who have the only instruments of his make in the United States. They are now photographing scenes in and around New York and will shortly be in Chicago for the same purpose. Each of these men has been carefully drilled for the purpose by Lumurier himself, as he claims that half the success of the instrument lays in the taking of the pictures. Up to date all the pictures shown in the cinematographe are taken Europe.
The Inter Ocean, Chicago, 10 septembre 1896, p. 5.
Il faut sans doute faire la part des choses... Les Lumière ont bien envoyé Alexandre Promio qui vient de tourner quelques vues à New York, mais il est bien plus douteux qu'ils en aient envoyé quatre. Cela relève sans doute d'une stratégie visant à montrer que les Lumière s'intéresse à l'Amérique et qu'ils sont disposés à engager de gros moyens pour obtenir des vues cinématographiques. La presse insiste d'ailleurs pour expliquer toute l'organisation en matière de tournage et de développement des films, sans doute pour justifier qu'il n'y a toujours pas de vues américaines dans les programmes :
The principal feature is the cinematograph, the wonderful instrument invented by the French photographer, Lumiere. The pictures shown in the cinematograph for the first fortnight will be principally foreign scenes, but operators are now in the East, and will shortly be in Chicago to take local views. Owing to the scenery preserved by Lumiere in his method of developing the negatives all the filme have to be sent to Lyons, France, to be finished, so some time will elapse before they are returned.
The Inter Ocean, Chicago, 13 septembre 1896, p. 37.
L'inauguration proprement dite a lieu le 14 septembre 1896 alors qu'Alexandre Promio est probablement encore à Chicago. L'écho des tournages dans la ville est immense et la presse va consacrer, en particulier, un article très détaillé sur celui de Défilé de policemen. En ce qui concerne le poste lui-même, il est tenu par Henry Tett :
"Eeet ees simple as a baby, I put ze peectures in so and turn ze crank so, and you see, ah, wonderful, b-e-a-utiful things on ze big curtain at ze front. That is all. I cannot explain him better."
This is the description of the cinematographe, as given by M. Tett, the representative of Lumiere, the inventor. His description of the marvelous little machine is hardly fair because nobody ever fully understood the mental and physical makeup of a baby, while the cinematographe is easily described.
Chicago Daily Tribune, Chicago, lundi 5 octobre 1896, p. 9.
Malgré la nouveauté, nous n'avons guère d'informations sur les débuts du cinématographe dans la ville. Pourtant les projections vont se prolonger sur plusieurs mois, marque sans aucun doute d'un incontestable succès. La presse se limite presque exclusivement à évoquer, avec parcimonie, les films présentés :
Among the new views shown by the cinematograph are a number taken at Buda-Pesth during the recent festivities celebrating the one thousandth year of the existence of the Hungarian nation. Also street scenes from London and from the Geneva exposition.
The Inter Ocean, Chicago, 24 septembre 1896, p. 7.
Le succès des tournages réalisés à Chicago font attendre, plus que dans d'autres villes, les fameuses vues américaines tournées par Promio. Cela conduit les journalistes - ou les publicistes- à anticiper la présentation des vues :
A number of new pictures are shown on the cinematographe, including the first American view, taken during M. Promio's recent visit, representing some colored folks fancing in the streets of Louisville. The new orchestra is a decided improvement, and bids fair to rank among the best in town.
The Inter Ocean, Chicago, 15 octobre 1896, p. 7.
La surprise, c'est l'évocation de vues non seulement américaines, mais pour certaines tournées à Louisville dont on ignore tout. Peut-être simplement un "détournement" de certaines images animées, pratique classique à l'époque. D'ailleurs, quelques semaines plus tard, il est à nouveau question de vues locales, mais d'une façon plus crédible, même s'il n'existe pas davantage de traces d'un passage de Promio par Pittsburg :
The Schiller
The present program will be repeated this week. The American views taken by M. Promino in New York, Pittsburg, Chicago, Washington, and Baltimore will be shown on the cinematographe.
Chicago Daily Tribune, Chicago, 6 décembre 1896, p. 38.
Le cinématographe Lumière semble s'être maintenu jusqu'au mois de février 1897, même si le nom des inventeurs a disparu. C'est sans doute au cours de cette période que Félix Mesguich est envoyé à Chicago, si l'on en croit ses souvenirs :
Je procède encore à des installations à Washington au Willards Hall, à Philadelphie, à Baltimore dans une église, et à Chicago.
Mesguich, 1933, 12.
Répertoire (autres titres) : The ceremonies when unveiling the great monument of Emperor William II at Breslau (The Inter Ocean, Chicago, 21 octobre 1896, p. 7), German cavalry regiment drilling, M. Lumiere's children playing with some four-footed friends, dogs ans cats, Some Siamese wrestling at Earl's Court, London (The Inter Ocean, Chicago, 28 octobre 1896, p. 4), German hussars, Children playing with animals, Tigers at the Paris Zoo, The Royal Palace at Madrid, and the Queen of Spain's body guard (The Inter Ocean, Chicago, 1er novembre 1896, p. 41), The entry of the Czar and the Czarina of Russia into Paris, The wedding procession of the Princess Maud of Wales (The Inter Ocean, Chicago, 8 novembre 1896, p. 41), The processions escorting the Emperor and Empress of Russia on their entry into Paris (The Inter Ocean, Chicago, 11 novembre 1896, p. 7), The famous Lady's mile, Rotton row, Hyde Park, London, taken during the season and showing a number of social notabilites taking their morning canter, A ship building yard with some men at work, The Stock Exchange at Lyons, France, The revolving swings at the Indian exhibition, Earles-court, London (The Inter Ocean, Chicago, 10 décembre 1896, p. 7), The elevated depot at the Battery in New York, The Chicago police force on parade on Michigan avenue (Chicago Daily Tribune, Chicago, 20 décembre 1896, p. 38).
Mise en vente de l'Amet Magniscope (Western Phonograph Co., 1er->1ernovembre 1896)
En novembre, la Western Phonograph Co. met en vente un Amet Magniscope.
Chicago Tribune, Chicago, dimanche 1er novembre 1896, p. 26.
Le Biograph (The Columbia, <12> novembre 1896)
Le Biograph propose des vues animées en novembre :
The recent invention showing animated photography the American biograph which is said to be the most wonderful of all will be seem in connection with "The Brownies" at the Columbia the coming week, beginning Sunday night The biograph will be introduced between the acts of the charming spectacle and among the subjects will be President McKinley walking on the lawn of his Canton home and reading a telegram a republican torchlight parade at Canton, the Empire State express between Chicago and New York going at the rate of sixty miles an hour and Joseph Jefferson in the toast scene from "Rip Van Winkle." Wednesday night will be Brownie Chicago Athletic club night. The production is said to be better than ever and includes a large number of new features.
The Chicago Chronicle, Chicago, jeudi 12 novembre 1896, p. 6.
The Chicago Tribune, dimanche 15 novembre 1896, p. 35.
L'Amet Magniscope (New West Side Vaudeville House/The Irving, 24->29 novembre 1896)
En novembre, des projections animées avec l'Amet Magniscope ont lieu à la New West Side Vaudeville House :
New West Side Vaudeville House
Another claimant for vaudeville honors will open next week on the West Side of Chicago. Up to the present time there has been no vaudeville venture in that part of the city, and the Irving Amusement company, having secured a lease of the auditorium in the People's Institute Building, intend putting on a vaudeville performance each week-Tuesdays, Thursdays, Saturday matinées and nights-at the prevailing price of 30, 20 and 10 cents.
[...]
The bill for the opening night, Tuesday next, is a very strong one, an comprises Furgeson and Mack, Morrison and Markey, Leon and Baker, the Murray Twins, Louise carver, Zazvelle and Vernon, Kinzo, the De Mores, Armstrong, Maddox and Armstrong, and the Amet Magniscope, which is the latest improvement in animated photographic projecting.
Chicago Tribune, Chicago, dimanche 22 novembre 1896, p. 35.
Mise en vente de l'Amet Magniscope (George Kleine, 3->3 décembre 1896)
À la fin de l'année, George Kleine commercialise l'Amet Magniscope.
Chicago Tribune, Chicago, jeudi 3 décembre 1896, p. 8.
97
L'Amet Magniscope (Fifth Presbyterian church, 29 janvier 1897)
Une séance de projections animées avec l'Amet Magniscope est organisée à la Fifth Presbyterian church à la fin du mois de janvier :
An entertainment will be given next Friday evening, Jan. 29, at he Fifth Presbyterian church, Indiana avenue and Thirtieth street. The following well-known people will take part: Miss Luella Clark Emery, pianist; Miss Maud Ross, violinist; Miss Ariel M. Nichols, soprano; Charles A. Dew, basso. The programme will conclude with an exhibition of the Amet magniscope.
The Chicago Chronicle, Chicago, mercredi 20 janvier 1897, p. 6.
L'Amet Magniscope de l'Institute of Photography (Owl Club, 20 février 1897)
L'Institute of Photography organise une séance particulière, en février, avec l'intention implicite de comparer le cinématographe Lumière et le magniscope :
EXHIBITION OF MOVING PICTURES
Members of the Owl Club Entertained by P. R. Hoy.
At the invitation of the Institute of Photography, the Owl Club, of scientific and professional men, met last night in the club-room of Copelin's photographic gallery to listen to a lecture and to see moving pictures. The lecture was by P. R. Hoy on the science of producing the effect of moving objects through the application of the principle of the persistence of vision, from the whirling toys of childhood, which showed the dolphins diving through the waves, to the cinematographe of Lumiere, and the Amet magniscope of Lester and Kent. The latter, which is supposed to be the best of all, was used last night, and showed some very interesting scenes, notably an Indian ghost dance, and a Hawaiian paddle dance...
The Inter Ocean, Chicago, 21 février 1897, p. 3.
L'Amet Magniscope (Théâtre Schiller, [17] mars->2 mai 1897)
En mars, au théâtre Schiller, le spectacle organisé comprend des projections animées avec l'Amet Magniscope.
The Chicago Chronicle, Chicago, mercredi 17 mars 1897, p. 3.
SCHILLER
The hit of this week's show at the Schiller is undoubtedly Georgia Gardner and Edgar Ely, and at the professional matinee yesterday they were accorded an ovation after their act that was all the more flattering, coming from fellow artists, proverbially the severest critics. [...] The new moving pictures shown on Amet's magniscope are quite equal to those shown on the Cinematographe, now that the machine is in proper working order, and have additional merit of being American views. The inauguration views illustrate McKinley taking the oath and the great parade.
The Inter Ocean, Chicago, mardi 30 mars 1897, p. 5.
Des séances ont encore lieu en mai.
The Sunday Chronicle, Chicago, dimanche 2 mai 1897, p. 21.
Le Cinématographe Lumière (Alhambra, Masonic Temple Roof Theater, Hopkins, Academy of Music, Grand Opera House, avril-octobre 1897)
Même si l'on peut considérer que l'Hopkins Theatre va prendre, en quelque sorte, le relais du Schiller Theatre, la situation, à partir du mois d'avril, va changer dans la mesure où l'appareil va se retrouver, au moins de façon ponctuelle, dans plusieurs salles de la ville. On peut penser que le cinématographe a été vendu ou bien qu'il ne va pas tarder à l'être. Par ailleurs, il semble que le mot "cinématographe" est utilisé pour désigné différents appareils. L'Alhambra présente l'appareil (The Inter Ocean, Chicago, 18 avril 1897, p. 40), mais de façon occasionnelle, puisque l'on retrouve une annonce en août 1897 (The Inter Ocean, Chicago, 22 août 1897, p. 37).
Alhambra Theater, Archer Avenue, 1907
© Library of Congress
En mai le Masonic Temple Roof Theater vient d'être restauré et va pouvoir accueillir l'appareil des Lumière :
The Masonic Temple Roof Theater will be the new name of that delightful resort heretofore known as the Masonic Temple Roof Garden. Quite a number of changes and improvements have been made for the coming season, which will open May 16 with a company of high-class entertainers headed by Marie Dressler. Harry Atkinson, who it will be remembered was one of the distinct features of Chevalier’s show, will appear, and Rachel Walker, the creole nightingale, the success of Hammerstein’s Olympia last season, will make her first bow to a Chicago audience. The remainder of the programme will be filled with numbers high-class in character and new to Chicago theater-goers. The old, well-worn acts that have so often appeared at the popular-price houses will find no place in the roof theater’s programme during the coming season. Something new will be the strict aim of the management. A feature will be a ladie’s orchestra of high reputation additional to the regular house orchestra. The Lumiere cinematographe will also be a feature of the opening week’s entertainment. Two performances a day will be given.
The Inter Ocean, Chicago, 2 mai 1897, p. 41.
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| Masonic Temple (c.1900) | Chicago Daily Tribune, 16 mai 1897, p. 35 |
Les séances commencent le 16 mai pour se prolonger jusqu'au début du mois de juillet (The Inter Ocean, Chicago, 4 juillet 1897, p. 15). Mais s'il est bien question au début du "New Lumiere Marvelous Cinematographe", par la suite, il n'est plus question que de "The Original Marvelous Cinematographe". Cela ne signifie pas qu'il ne s'agisse plus de l'appareil Lumière, mais il se trouve qu'un autre théâtre, l'Hopkins Theater, qui a présenté The American Biograph antérieurement, propose, lui aussi, un cinématographe Lumière, à partr du 23 mai 1897. Chacun des deux théâtres va revendiquer le cinématographe Lumière. Que penser ? Soit deux appareils français sont effectivement présents à Chicago, soit le terme "cinématographe" est utilisé pour un autre appareil, ce qui n'aurait rien de surprenant.
Chicago Daily Tribune, Chicago, 23 mai 1897, p. 39
Si la publicité est bien présente pendant plusieurs mois, nous n'avons aucune information sur les films qui sont alors projetés. Sans doute le corpus est-il, plus ou moins, le même, plus ou moins. En outre, en mai 1897, l'appareil n'est plus une nouveauté et n'est plus censé attirer les foules. Les dernières séances ont lieu au cours de la seconde quinzaine du mois d'août (The Inter Ocean, Chicago, 17 août 1897, p. 7). Quant aux vues présentées nous n'avons que très peu d'informations : The Queen's jubilee (Chicago Daily Tribune, Chicago, 11 juillet 1897, p. 28), "The reproduction of the bull fight at Madrid", "The cavalrymen swimming their horses across the Seine" (The Inter Ocean, Chicago, 16 juin 1897, p. 7), "An amusing scene wille be the reversal of the picture showing the bathers at Milan, in which the laws of gravitation are apparently defied and the people perform the most remarkable gyrations, which is produced by running the film back-ward instead of forward." (The Inter Ocean, Chicago, 20 juin 1897, p. 41).
Par la suite, des projections de cinématographe vont avoir lieu à l'Academy of Music (The Inter Ocean, Chicago, 17 août 1897, p. 7) et au Grand Opera House (The Inter Ocean, Chicago, 13 octobre 1897, p. 7) sans plus d'informations.
