迪克森實驗有聲電影
參考資料

↑  . Library of Congress.   [2020-09-29]. （原始内容存档于2020-02-22）.
↑  . Library of Congress.   [2020-09-29]. （原始内容存档于2016-03-05）.
↑  包括狄克森（Dixon 2003年，第53頁）和FilmSound.org （页面存档备份，存于）等資料來源認為小提琴手不是迪克森，而有可能是為愛迪生錄製過不少圓筒的查爾斯·德奧美（英语：）。 有關此主張的詳細反駁，請參閱勞尼（Loughney 2001年，第216頁）中一張確定為德奧美的照片（請見這裡 （页面存档备份，存于））也證明他就是電影中的小提琴手。另見亨德里克斯（Hendricks 1966年，第122頁）。
↑ See, e.g., UNLV Short Film Archive 的 存檔，存档日期2007-06-27. . Courtesy of Wikipedia editor Franz Jacobs, the following material can be accessed to compare Dickson's performance with a selection from "Song of the Cabin Boy", demonstrating that Dickson plays the vocal part on the violin: See Two Hundred Opera Plots, by Gladys Davidson, for a description of the opera. Ion Martea, in his May 19, 2006, essay on the film 的 存檔，存档日期2016-03-03. for the Culture Wars website, claims erroneously that the music Dickson plays is "an excerpt from Pietro Mascagni's Cavalleria rusticana ."
MP3 of Dickson's performance 的存檔，存档日期2011-07-15.
Section of sheet music from Les Cloches de Corneville 的存檔，存档日期2007-10-08.
MIDI of sheet music section
MIDI of just the vocal part played on a violin
↑  .
↑  Loughney (2001), p. 217.
↑  Loughney (2001) describes the sound as "nearly two minutes long" (p. 217). Murch, in his brief 2000 note, calls it "a couple of minutes long"; in his 2004 interview he says "two and a half minutes long."
↑  .
↑  UNLV Short Film Archive 的存檔，存档日期2007-06-27.
↑  Hendricks (1966), pp. 6–8.
↑  Russo (1987), pp. 6–7. For rebuttal of Russo's claim, see, e.g., Dixon (2003), p. 53; Justin DeFreitas, "Moving Pictures: Documentary Puts Modern Gay Cinema in Context", Berkeley Daily Planet, July 7, 2006 (available online （页面存档备份，存于）).
↑  See Movies of the 90s, ed. Juergen Mueller (Bonn: Taschen, 2001), p. 147. See also Larry P. Gross, Up from Invisibility: Lesbians, Gay Men, and the Media in America (New York: Columbia University Press, 2001), p. 57. Gross also erroneously calls it a "five-minute avant-garde film" and describes the men as dancing to music "played on an Edison gramophone", though he does properly state that "we don't know what Dickson intended this light-hearted scene to suggest" (ibid.). The passage is adapted from a section introduction written by Gross for The Columbia Reader on Lesbians & Gay Men in Media, Society, and Politics, ed. Larry P. Gross and James D. Woods (New York: Columbia University Press, 1999), p. 291.
↑  A particularly relevant example of the way the word "gay" was actually used is provided by a later Edison Manufacturing Company film, directed by Edwin S. Porter. As described by scholar Linda Williams, The Gay Shoe Clerk (1903)

is composed of a static long shot.... A clerk is tidying up when two women enter. The younger woman seats herself before the clerk as the older woman's attention wanders. When the clerk begins to try a shoe on the young woman, the master long shot is replaced by an "insert" close-up of her foot and ankle showing the clerk's hands fondling the foot. As the shot continues the woman's full-length skirt rises, and the audience gets a good view of her stockinged calf. Returning to the original long shot, we see the rest of the action: the clerk, apparently aroused by the sight and touch of her calf, kisses the young woman; the older woman finally notices and begins beating him on the head with her umbrella.

Linda Williams, Hard Core: Power, Pleasure, and the "Frenzy of the Visible", exp. ed. (Berkeley, Los Angeles, and London: University of California Press, 1999), pp. 65–66.
↑  See John C. Waugh, The Class of 1846: From West Point to Appomattox—Stonewall Jackson, George McClellan and Their Brothers" (Ballantine Books: 1994), pp. 19, 131, 138.