Ashland tidings. [volume] (Ashland, Or.) 1876-1919, 1916-12-07

for the advent of the amusement
magnates into the motion picture
field. The time was ripe for the ap-
plication of the experienced show
mans resourcefulness and redundant
publicity methods to the populariza-
tion of the motion picture as an
amusement factory. Heretofore 1t
had been accepted most generally as
scientific toy. The kinetoscope,
like the three by four peanut stand,
was, at best, petty business. 1t
could accommodate but one spectator
at a time and consequently its gross
earning capacity was decidedly lin
tied. The only possibility lay in the
cheapness of its operation and the
fact that it could patiently garner its
harvest of small coins with little or
not attention.
When the first motion picture was
thrown on the screen, however, new
possibilities were Immediately appar-
ent to the few more astute showmen
of the day. The only limitation on
the number of spectators now was
the size and seating accommodations
of the projection room. All at once
motion pictures had metamorphosed
from j'penny in the slot" into the
atrical enterprise.
Notwithstanding the expansive fu-
ture that had come into being thus
suddenly for the industry and the
fact that, to us looking back at 1t, it
appears as though its possibilities
should have been perfectly obvious,
the majority of the would-be wise
heads" continued for some time to
regard it askance.
1t is to be noted that very few of
the really conspicuous amusement
magnates of the nineties were among
those who were to prosper most
largely in the film field. In most
cases it was the small fry" of that
period that have become the domi-
mating figures in the tremendously
large and opulent motion picture in
dustry of a quarter of a century lat
er. Herein lies the flavor of ro-
nance.
In London, however, this was not
altogether the case. Shortly after
completing his projecting machine in
his private workshop. Paul gave a
number of demonstrations under the
auspices of various educational socie-
ties. The only intent of these early
films was to show the subjects in
motion. There was no attempt to-
ward story. "A Rough Sea at
Dover" and "A Bootblack at Work
in London Street" were two of the
pictures shown. Neither ran beyond
a minutes duration on the screen.
Among the invited guests at these
demonstrations was Lady Harris,
wife of Sir Augustus Harris, one of
the most famous impresarios of his
time. The enthusiasm with which
she viewed the magic work on the
screen and the reports that she car
ried of it to her husband, who pos
sessed a keen instinct of the real
Snowman, resulted in a fifty-fifty
agreement between him and Pau
whereby his device. known as the
theatrograph, was to be installed for
season in the Olympia Theatre OF
London. which Harris had purchased
How little credit even an enthusi-
asst was willing to give motion pic
lures in their early beginnings may
be gathered from Sir Augustus Har-
ris prophesy in his first conversa-
tion with Paul.
at will go great" he said, sc
long as the novelty lasts. I expect
that the edge will have worn off in
upwards of month"
Paul, il is said, went into the en-
terprise with even less enthusiasm
than Harris. The public, however
responded uproariously. At the end
of month interest, instead of lag
ging, was growing with astonishing
bounds, and it continued to grow
from month to month. Other thea
tres began falling into line. Paul en-
larged his workshops. He doubled
then trebled his working force and
still increased it more. And all the
while the amusement kings of Lon
don, while raking in their unprece-