Edison Kinetoscopic Record of a Sneeze

Edison Kinetoscopic Record of a Sneeze

4.9

Jan 09 1894

0h 1m

Documentary

A man (Thomas Edison's assistant) takes a pinch of snuff and sneezes. This is one of the earliest Thomas Edison films and was the second motion picture to be copyrighted in the United States.

Fred Ott

Fred Ott

Recommendations

See all
Workers Leaving the Lumière Factory
6.7

Workers Leaving the Lumière Factory

1895

Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.

Dickson Experimental Sound Film
6.2

Dickson Experimental Sound Film

1894

William K.L. Dickson plays the violin while two men dance. This is the oldest surviving sound film where sound is recorded on the phonograph.

Kyon Ki...
5.9

Kyon Ki...

2005

After accidentally killing his fiancee, Anand becomes insane and is admitted to a psychiatric hospital. Tanvi, his doctor, falls in love with him, but her father does not approve, given his past.

Capitalism: Slavery
4.9

Capitalism: Slavery

2007

In Capitalism: Slavery, Jacobs uses a Victorian stereograph (a double-photograph) of slaves picking cotton under the watchful eye of a white overseer as the source for this wrenching silent work. Through digital manipulation, Jacobs creates a haunting illusion of depth and movement. It is as if he has "entered" the image and reactivated this historical moment; he moves among the figures and isolates individuals, creating a stuttering, pulsing effect that suggests motion even as it animates stasis.