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Détails: Création : 25 mars 2015; Mis à jour : 1 mai 2024; Publication : 25 mars 2015; Affichages : 4925

SYDNEY

Jean-Claude SEGUIN

Sydney est la capitale de la Nouvelle Galles du Sud (Australie).

1894

Le Kinetoscope de J. C. Williamson (148, Pitt Street, 30 novembre-décembre 1894) →1895

Dans les derniers jours du mois de décembre, la presse annonce l'arrivée à Sydney du kinetoscope rapporté des États-Unis par J. C. Williamson

THE KINETOSCOPE.
Edison's latest marvel has arrived in Sydney, and will be on exhibition in a few days. It was decided by the combined companies owning the rights of the kinetoscope mat its introduction to the public should be practically simultaneous through out the world. Mr. J. C. Williamson, during his recent visit to America, secured the Australian rights of this remarkable invention, full particulars of which will very shortly be given to the public. Meanwhile it may be noted that American exchanges are devoting large and exhaustive articles to the exhibitions which are now taking place in America.
The Australian Star, Sydney, samedi 24 novembre 1894, p. 6.

The Sydney Morning Herald, Sydney, samedi 24 novembre 1894, p. 2.

Le salon est ouvert le 20 novembre :

THE KINETOSCOPE.
The Ant day's exhibition of the kinetoscope in Pitt-street attracted a constant stream of visitors, so that, except during yesterday afternoon, when the attendance slackened, the management put through more than 50 persons per hour on the five machines. This latest " marvel of the age " thus shows every sign of permanent popularity.
The Sydney Morning Herald, Sydney, samedi 1^er décembre 1894, p. 10.

Le même jour, The Daily Telegraph consacre un très long article au salon du kinetoscope où fonctionnent cinq appareils.

THE KINETOSCOPE.
PHOTOGRAPHY IN MOTION.

E DYSON'S LATEST TRIUMPH.

The kinetoscope, which the Messrs. M'Mahon have just introduced to Sydney, is another materialisation of Edison's genius. Entering the building in Pitt-street, half a dozen steps above King-street, you see five cabinet-shaped stands. Each is a separate kinetoscope. Glancing through the aperture fixed for the eyes, you have a view of one of the most striking and marvellous novelties that scientific invention has yet produced. Take the first. Miss Anna Belle, of New York, is performing the butterfly dance. Every movement of the limbs, every wave of drapery, are exhibited with absolute exactitude. If you were not already assured that the figure was the handiwork of man, and if it was not so reduced in size, you might be forgiven for imagining for the moment that it was the miniature of a reality. So it is for that matter. The graces of style, the continuity of the dancer's movements, and the most minute flourishes are produced with perfection.

Adjoining is a representation of a forge and a blacksmith shoeing a horse. The affect was not so good in this instance yesterday because of the defective light. But there was sufficient to show every detail of the operation. The horse itself, the blacksmith driving on the shoe, and the assistant or the owner, or whatever he may be, whisking files from the animal, are given with the utmost fidelity. Another sketch, whose faithfulness will appeal strongly to the Sydney visitor shows the Colombian wire walker Caicedo, who was at the Lyceum last summer, going through some of his tricks. His peculiar method is exactly depicted. He holds the balancing pole in his hands, he walks along the wire, he turns a somersault, he twists his body round and returns. The whole effect is admirably produced. It is Caicedo just as he was at the Lyceum. There is hardly sufficient opportunity in one view to examine the movements in detail. Indeed, this is inevitable. The scientific process by which a series of photographs impresses itself upon the eye as one continuous pictures renders it impossible. The succession of reproductions is so swift that you have just sufficient time to take in the sketch as a finished illustration, when the darkness closes in and it has vanished.

Perhaps the most elaborate and best sketch Is the interior of a barber's shop and the operation of shaving. The customer enters, takes off his coat, gets into a chair; another comes in, picks up the paper and starts a conversation. It is all compressed into a picture which a few square inches would cover. But the procedure is correct and life-like to every trivial inch lent. The new arrival in seen reading his newspaper, cracking his joke, and exchanging traveller's fictions with the rest of the company. There is one episode absent from the photographic representation of the reality. It's Impossible to hear the barber's comments on the last football match, or his inquiries touching the winner of the Derby. It is only when Edison's scientific genius accomplishes this feat that he will be looked upon as a scourge to humanity. The last kinetoscopic reproduction is a cockfight. The two roosters are in the thick of the struggle. A humane person is egging them on to the destruction of each other. The flying limbs, the bristling feathers, the vicious attack, and the destructive repulse are graphically displayed to tho excited spectator. The whole exhibition is certainly worth seeing as much for its novelty as for its scientific worth.

How is all this effect produced in the first instance? you will ask. Mr. Edison has a stage upon which the performances he reproduces are enacted. These performances are recorded by taking a series of 48 photographs in rapid succession, the time occupied in taking them being one second only. Thus every progressive phase of every single action is secured, and the photographs are successively reproduced on a film of celluloid of the length required for recording a given scene. When this film is passed before the eye at the same rate of speed as that at which the photographs were taken, the photographically disjointed parts of a given action are united in one complete whole.
Thus, supposing a person to be photographed taking off his coat — as is done in one case — the successive views representing the phase of action at every 43rd part of a second are joined up, and the complete operation of taking off the coat is presented to the eye as it would appear in reality. In other words, the kinetoscope is a perfect reproduction of living action, without sound. The apparatus in which this reproduction takes place is a cabinet about 4ft. high, 2ft. wide, and 1ft. 9in. deep. It contains the celluloid film band, the apparatus for reconstructing the disjointed views, and an electric motor for driving the apparatus. The chief detail of the mechanism is a flat metal ring having a slot in it, which makes about 2000 resolutions per minute. The film passes rapidly over the ring, beneath which is an electric light. The spectator looks through a lens on to the film, and every action recorded on it passes under his view.
The Daily Telegraph, Sydney, samedi 1er décembre 1894, p. 9.

Les projections se prolongent jusqu'à la fin de l'année :

THE KINETOSCOPE
The Kinetoscope Exhibition in Pitt-street comprises at present the Cock Fight, the Boxing Cats, and Ary Armand's Café Chanson interlude, with other animated subjects. The French comédienne's comic action is essentially Gallic, giving the spectator a vivid idea of the kind of gesture popular with the frequenters of the Boulevards; and all the Kinetoscope subjects furnish food for admiration or mirth.

The Sydney Morning Herald, Sydney, samedi 29 décembre 1894, p. 5.

→ 1895

1895

← 1894 Le Kinetoscope de J. C. Williamson (148, Pitt Street, 1^er janvier-[8] février 1895)

Le kinetoscope parlor reste ouvert dès les premiers jours de l'année :

THE KINETOSCOPE.
The Kinetoscope, at 148 Pitt-street, continues daily to reproduce the presentment activity of Caicedo, the wire walker, the great Cock Fight, Armande Ary, the French danseuse, in song and dance, the Blacksmith's Forge, &c, for the amusement of the numerous visitors.
Evening News, Sydney, mardi 1er janvier 1895, p. 6.

Dans les premiers jours de février, on annonce un nouveau spectacle au 148, Pitt Street :

THE HAUNTED SWING
Follows the Kinetoscope shortly in Pitt-st.

The Daily Telegraph, Sydney, vendredi 8 février 1895, p. 2.

1896

Le Cinématographe Lumière de Marius Sestier (Lyceum Theatre, 18 et 20 septembre 1896)

Le Cinématographe de Carl Hertz (Tivoli, 19->19 septembre 1896)

En provenance de Melbourne, Carl Hertz inaugure ses projections au Tivoli :

At the Tivoli on Saturday night the " Cinematographe " was worked by Carl Hertz, and the highly successful exhibition of live pictures created a sensation. The invention is worked after the manner of a magic lantern, and throws photo-like and life-sized views on to a screen. Nearly a dozen pictures were shown, and all were loudly applauded, but the most popular were two London street scenes, the sea breaking on rocks and beach, an opera, and a burlesque of Trilby. Each of these had to be shown again in response to the vociferous demand of the delighted crowd. Of the series shown the Westminster Bridge one will be the most popular. the pedestrians, horses and vehicles are dearly delineated, and the fact that an elderly man turned his head round proved a source of great merriment. In Melbourne the onlookers used to whistle immediately before "daddy" looked round, and then followed a roar of laughter from the crowd. All the illustrations were shown without any kitch, There was one view of the Strand, London, an Oriental dance, a skirt dance, a Highlander and lassie dancing a fling, a racecourse scene, a female acrobat and a boxing match, in which the combatants moved leisurely. The most humorous was the hugging of a girl by a soldier, While the couple are billing and cooing on a seat a burly and elderly woman squats on the sent, and the young woman is engaged in shoving off the interloper when the picture ends. In response to the appeal of the audience Carl Hertz appeared on the stage and returned thanks for the approbation accorded the marvellous invention. He announced that he would to-night give his " Vanity Fair Entertainment." Miss Florrie Forde sang with much success a budget of serio-comics, and the others in the bill are Misses Rae Cowan, Emmie Morrison, Alma Gray, Hope Nation, Messrs. Pope, Sayles, Chas. Cogill, Tom Queen, Chas. Howard, S. J. Austin, Provo, H. Shine and the Durhams.

The Australian Star, Sydney, lundi 21 septembre 1896, p. 3.

Le Cinématographe de James MacMahon (Salon Cinématographe, <9> novembre 1896)

James MacMahon présente un cinématographe au Salon Cinématographe dans les premiers jours de novembre :

THE CINEMATOGRAPHE.
The new Cinematographe brought from Paris by Mr. James MacMahon, was successfully opened at the Salon Cinematographe (nearly opposite the Lyceum Theatre) shortly before noon on Saturday. Throughout the day there were large attendances, and with the exception: of "The Avenue de l’Opera Going Backwards," which at first refused· to go either backwards of forwards, the whole exhibition went without a hitch. In place of the refractory film a representation of a duel between French swordswomen was substituted. One advantage which this Cinematographe has is that the pictures are shown for a longer period than usual. This was especially noticeable in "The Arrival of the Paris Train," in which the train stopped, passengers went in and out; the signal for starting was given, and the carriages again left the railway station, before darkness eclipsed the scene. The audience also waxed enthusiastic over the procession of animals at the French Zoo. The amuse the children all kinds of weird beasties, ranging from ostriches to buffaloes, had been harnessed in pairs, whilst at the rear marched an enormous elephant, whose ponderous tread was clearly burlesqued by the Salon orchestra. One of the charms of the Cinematographe is that it brings home to the audience the daily life of foreign cities. This phase was illustrated by " The Stefan Platz, Vienna," in which the gaily-moving carriages and the busy throngs who foot it day by day in front of Vienna Cathedral, were vividly portrayed. "The Waves at Dieppe," Living Statuary," “'Batteries of Royal Artillery," and "La Loie Fuller," were all displayed in turn. Miss Fuller’s serpentine dance was beautifully depicted in colours, all the limelight effects being reproduced, and the applause was enthusiastic. The new Cinematographe will be on view all day until further notice at the hours quoted in another column.

The Sydney Morning Herald, Sydney, 9 novembre 1896, p. 3.

1897

Le Biograph (Palace Theatre, 21 août->27 septembre 1897)

C'est à la fin du mois d'août que le Palace Theatre accueille un Biograph destiné à présenter un programme de vues animées :

PALACE THEATRE
The Palace Theatre will be opened to-night by the Biograph Vaudeville Company. The Biograph is the name of a remarkable invention which presents living pictures with striking vividness. It was exhibited on Saturday night to a considerable number of pressmen who freely bestowed applause as scene after scene of excellent character was presented. The feature of this series of views is their magnitude, and next comes the fidelity with which natural scenes are reproduced. The Biographe is especially well adapted for the representation of such natural wonders as the Niagara Falls, the distinctive charms of which are volumes of water flowing everlastingly. Another object which is an example of magnitude and makes a capital picture in the Biographe is the United States battleship Massachusetts, a warship in which Americans naturally take much pride. Another scene which is of an excellent kind is that which presents the United States express tram darting along at a speed of 60 miles an hour. Of military subjects there are several. These include a 10-inch breechloading disappearing gun, which is loaded and fired in the presence of the audience Domestic scenes of the humorous abound in the collection. " Why Papa can’t Sleep " is one which is bound to make an audience merry whenever it may be shown " The Typewriter " is another which is equally mirth-provoking. " The Pillow Battle, " the " Kitten's Bath," and " Still Waters Run Deep,” are all scenes which give rise to much hilarity. The " Blanket Court-martial " is also a highly amusing scene " Shooting the Shoot " is an American pastime which introduces as an element the sensational. A flat-bottomed boat laden with pleasure-seekers is released from a slide, whence it makes a rapid descent into a lake, across the surface of which it skims with great celerity. Among other noteworthy pictures presented were those which show fire-engines off to a fire, and some of the latest examples of horseless carriages. A " fire-scene at Jefferson's stables " and "a Square in New York " may also b singled out as being very clever reproductions of natural scenes.

The Sydney Morning Herald, Sydney, lundi 23 août 1897, p. 3.

Les séances se poursuivent au cours des semaines suivantes :

The Biograph pictures were, of course, a feature of the show. A really droll presentment was "The Piccaninny's Bath," in which an unwilling negro boy is vigorously handled by a presumably fond but all too powerful mother. The series included "A Stable on Fire,'' "Saharet,"' the high-kicking dancer; "Niagara," and the 'New York Fire Department responding to an alarm."

Evening Sydney, Sydney, lundi 27 septembre 1897, p. 3.

1900

Le Bioscope de la Warwick Trading Company (<10> mars 1900)

Les vues de la guerre des Boers de la Warwick prises par Bennett Stanford :

THE WAR BIOSCOPE.
Films From the Field of Battle.
Animated Pictures From the Seat of War.
Animated photography has achieved another remarkable triumph. For the first time in human experience photographs have been taken at the seat of battle which are capable of being reproduced by the cinematographe.
The Warwick Trading Company, the proprietors of a new and portable form of biograph camera, have received from members of their war staff in South Africa their first consignment of films.
The camera with which these pictures were taken is very little larger than an ordinary full plate machine, though it is, of course, much more complicated. It consists of a powerful lens attached to an ordinary camera. Behind the camera is fixed a box of machinery. Two steel drums hold the films, which are wound upon them in lengths of several hundred feet. Before the films is a revolving shutter which is worked by a handle. This shutter whirls so rapidly that it can easily take eight pictures in a second. The same movement which animates the shutter also revolves the drums by a clockwork arrangement.
The bioscope is so portable that one camera with its tripod can be carried on a bicycle, and a pack mule can carry three or four.
The photographs have been taken by special war correspondents now in South Africa. When a scene, a battle, or manoeuvres has been decided upon the operator sets his machine In position and commences to take the pictures.
The strips of film, which measure 100ft. in length, and sometimes considerably more, are afterwards packed in light-proof round tins, which remind one of nothing so much as an ordinary two-ounce tobacco-box. A dozen or two of these tins are then carefully packed in a larger tin, also light-proof, and the whole is sent by post to the factory in England, where the films are developed.
A representative of the "Dally Mail" was shown one of these tins which has a curious history. It bears upon its side the words, written in violet-coloured pencil, "Opened under martial law," and beneath, the signature, in initials, of the censor at Capetown.
It seems that this box, which contained some interesting and unique films, was opened by the censor, and many feet of film were spolied by being exposed to the light. "Martial law" is thus responsible for the loss to the British public, of some exceedingly interesting pictures.
However, most of the large consignments that the Warwick Company have received from the front have arrived intact. The first rights of the pictures have been secured by Olympia. Many of the best films have been taken by Mr. Bennett Stanford, who is a millionaire with a strong love of adventure, who has chosen to see the war as the head of the bioscope war staff.
The pictures are interesting and novel. One can see the armoured train rushing rapidly by, with the muzzles of guns projecting from its side. The train consists of only two carriages.
One of the most vivid and striking pictures of the series, and also one of the most successful bioscope films ever taken, shows the Lancers under the Earl of Airlie fording the Modder River on their return from the Enslin engagement. Another extremely fine film depicts the hospital corps on the battlefield after the Modder River fight picking up the dead and wounded. The rapidity of movement is remarkable, and the celerity with which a wounded man is picked up and driven away in the ambulance is a great compliment to the skill and energy of the Ambulance Corps.

The Australian Star, Sydney, samedi 10 mars 1900, p. 9.

1901

Le bioscope de la Warwick Trading Company (Tivoli Theatre, <27> mai 1901)

Au Tivoli Theatre, un bioscope offre des vues animées en mai :

TIVOLI THEATRE.

The latest attraction at the Tivoli Theatre is the American bioscope, the latest issued by the Warwick Trading Company. The views were excellent, and they were exhibited almost without the usual "flicker." A series of pictures representing an electric tram running into Hongkong, and several scenes in the busiest parts of London were especially interesting, while some ingeniously comical scenes provoked roars of laughter. The films must be classed among the best ever exhibited here. The bioscope was exhibited under the superintendence of Mr. James Taylor specially engaged by Mr. Harry Rickards. Mr. Frank Latona, the clever and comical musical tramps, and Mr Austin Rudd especially contributed largely to the success of the entertainment in which the Leonards, Rosie Aquinaldo, and Mdlle. Sarina, Madame Cordelia, Miss Nita-Clarke Leete, Messrs Billy M'Clain, Wallace, Crane, Lawton, and La Mert also had a prominent share.
The Daily Telegraph, Sydney, lundi 27 mai 1901, p. 3.

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le grimh

SYDNEY

Jean-Claude SEGUIN

1894

Le Kinetoscope de J. C. Williamson (148, Pitt Street, 30 novembre-décembre 1894) →1895

1895

← 1894 Le Kinetoscope de J. C. Williamson (148, Pitt Street, 1^er janvier-[8] février 1895)

1896

Le Cinématographe Lumière de Marius Sestier (Lyceum Theatre, 18 et 20 septembre 1896)

Le Cinématographe de Carl Hertz (Tivoli, 19->19 septembre 1896)

Le Cinématographe de James MacMahon (Salon Cinématographe, <9> novembre 1896)

1897

Le Biograph (Palace Theatre, 21 août->27 septembre 1897)

1898

1899

1900

Le Bioscope de la Warwick Trading Company (<10> mars 1900)

1901

Le bioscope de la Warwick Trading Company (Tivoli Theatre, <27> mai 1901)

1902

1903

1904

1905

1906

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