Star Theatre (also known as Demolishing and Building Up the Star Theatre) is a 1901 short documentary film in which time-lapse photography is used to show the dismantling and demolition of New York City's Star Theatre over a period of about a month.Produced by the American Mutoscope and Biograph Company, it was produced and filmed by F.S. Armitage. It made the National Film Registry in 2002.
Gertie the Dinosaur is a 1914 American animated short film by Winsor McCay. Although not the first animated film, as is sometimes thought, it was the first cartoon to feature a character with an appealing personality. The appearance of a true character distinguished it from earlier animated "trick films", such as those of Blackton and Cohl, and makes it the predecessor to later popular cartoons such as those by Walt Disney. The film was also the first to be created using keyframe animation. The film has been selected for preservation in the United States National Film Registry, and was named #6 of The 50 Greatest Cartoons of all time in a 1994 survey of animators and cartoon historians by Jerry Beck.
Siege is a 1940 documentary short about the Siege of Warsaw by the Wehrmacht at the start of World War II. It was shot by Julien Bryan, a Pennsylvanian photographer and cameraman who later established the International Film Foundation.Siege was nominated for an Oscar for Best One-reel Short at the 13th Academy Awards in 1941, and in 2006 it was named to the National Film Registry by the Librarian of Congress as "a unique, horrifying record of the dreadful brutality of war".
White Fawn's Devotion: A Play Acted by a Tribe of Red Indians in America is a 1910 American short dramatic silent film. The film, which features Princess Red Wing as "White Fawn", was shot in New Jersey at 24fps.White Fawn's Devotion is the earliest surviving film directed by a Native American, and also the first film shot in America by the French company Pathé. In 2008, it was added to the United States National Film Registry as being deemed "culturally, historically, or aesthetically significant".
Theodore Case Sound Test: Gus Visser and his Singing Duck (1925), also known as Gus Visser and His Singing Duck, is an early sound film, directed by Theodore Case while perfecting his variable density sound-on-film process. Case began working on his sound film process at the Case Research Lab in Auburn, New York in 1921. There are as many as three separate takes of Mr. Visser's act that exist. The film was shown in June 1925 at the Exposition of Progress in Auburn.From 1921 to 1924, Case provided Lee De Forest with inventions of the Case Research Lab for use as improvements in De Forest's Phonofilm system, but had a falling out with De Forest after failing to be credited for those inventions, such as the AEO Light, that made De Forest's system workable. From 1916 to 1927, Earl I. Sponable worked for Case. After Case sold his system in July 1926 to William Fox-- who renamed the Case system Fox Movietone -- Sponable went to work for Fox Movietone.
OffOn is an experimental film created by Scott Bartlett made in 1967 and released in 1972 . It is most notable for being one of the first examples in which film and video technologies were combined. The nine minute film combines a number of video loops which have been altered through re-photography or video colorization, and utilizes an electronic sound track to create its unique effect.In 2004, OffOn was added to the National Film Registry in the Library of Congress, recognising the cultural, historical and aesthetic significance of the movie.
Glimpse of the Garden is a 1957 five-minute short film made by Marie Menken, showing film clips of a garden, with birds chirping for the soundtrack.In 2007 it was nominated for the National Film Registry
Blacksmith Scene (also known as Blacksmith Scene #1 and Blacksmithing Scene) is an 1893 American short black-and-white silent film directed by William K.L. Dickson, the Scottish-French inventor credited with the invention of the motion picture camera under the employ of Thomas Edison.It is historically significant as the first Kinetoscope film shown in public exhibition on May 9, 1893 and is the earliest known example of actors performing a role in a film. In 1995, Blacksmith Scene was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". It is the oldest film included.
The Dickson Experimental Sound Film is a film made by William Dickson in late 1894 or early 1895. It is the first known film with live-recorded sound and appears to be the first a motion picture made for the Kinetophone, the proto-sound-film system developed by Dickson and Thomas Edison. (The Kinetophone, consisting of a Kinetoscope accompanied by a cylinder-playing phonograph, was not a true sound-film system, for there was no attempt synchronize picture and sound throughout playback.) The film was produced at the "Black Maria", Edison's New Jersey film studio. There is no evidence that it was ever exhibited in its original format. Newly digitized and restored, it is the only surviving Kinetophone film with live-recorded sound.
Lampchops (1929) is a comedy Vitaphone short which is a filming of a vaudeville performance by George Burns and Gracie Allen of the comedy routine “Lambchops” written by Al Boasberg.In 1999 the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". Lambchops was released on DVD in three disc deluxe edition of The Jazz Singer in October of 2007.
Free Radicals is a black-and-white animated film short by avant-garde filmmaker Len Lye. Begun in 1958 and completed in 1979, Lye made the film by directly scratching the film stock. The resulting "figures of motion" are set to music by the Bagirmi tribe of Africa.
"Let's All Go to the Lobby" is a 1953 animated musical snipe played as an advertisement before the beginning of the main film. It featured a family of four talking concession stand products, singing "Let's all go to the lobby to get ourselves a treat" and walking to the concession stand.The trailer was animated by Dave Fleischer (producer of Popeye cartoons) and produced by Filmack Studios of Chicago, a company that specialized in snipes. It was part of a series of Technicolor trailers aimed at informing audiences about a theater's newly installed  concession stand.
Manhatta (1921) is a short documentary film which revels in the haze rising from city smoke stacks. With the city as subject, it consists of 65 shots sequenced in a loose non-narrative structure, beginning with a ferry approaching Manhattan and ending with a sunset view from a sky scraper. The primary objective of the film is to explore the relationship between photography and film; camera movement is kept to a minimum, as is incidental motion within each shot. Each frame provides a view of the city that has been carefully arranged into abstract compositions.
The Kiss (also known as The May Irwin Kiss, The Rice-Irwin Kiss and The Widow Jones) is an 1896 actuality, and was one of the first films ever shown commercially to the public. The film is around 47 seconds long, and depicts a re-enactment of the kiss between May Irwin and John Rice from the final scene of the stage musical, The Widow Jones. The film caused a scandalized uproar and occasioned disapproving newspaper editorials and calls for police action in many places where it was shown. One contemporary critic wrote: "The spectacle of the prolonged pasturing on each other's lips was beastly enough in life size on the stage but magnified to gargantuan proportions and repeated three times over it is absolutely disgusting."
President John F. Kennedy is shown riding in an open-top car with his wife and several others, waving at crowds on the sidewalk. He is hit by a bullet and clutches his throat as the others react with surprise. Another shot hits Kennedy in the head and he collapses. A Secret Service agent runs up to the car, and Mrs. Kennedy climbs onto the trunk to pull him aboard as the car speeds away
A magician is spurned by an opera singer, and takes a spectacular revenge by replacing the conductor and turning the hapless tenor into one thing after another. And watch out for the hair that gets caught in the projector gate! Directed by Tex Avery
The Great Train Robbery is a 1903 American Western film by Edwin S. Porter. Twelve minutes long, it is considered a milestone in film making, expanding on Porter's previous work Life of an American Fireman. The film used a number of innovative techniques including cross cutting, double exposure composite editing, camera movement and on location shooting. Cross-cuts were a new, sophisticated editing technique. Some prints were also hand colored in certain scenes. None of the techniques were original to The Great Train Robbery, and it is now considered that it was heavily influenced by Frank Mottershaw's earlier British film A Daring Daylight Burglary. The film uses simple editing techniques (each scene is a single shot) and the story is mostly linear (with only a few "meanwhile" moments), but it represents a significant step in movie making, being one of the first "narrative" movies of significant length. It was quite successful in theaters and was imitated many times.
A young Frank Sinatra is in the studio with a full orchestra. He records a take of "If You Are But a Dream," then breaks for a smoke. From the studio, he steps into an alley where he sees nearly a dozen kids chasing one smaller boy. Frank stops them, asks why, and they tell him it's because of the boy's religion. So Frank asks them if they're Nazis and explains a few things about America, blood banks, World War II, and teamwork. Then he sings "The House I Live In" for them. Off the lads scamper, and the kid Frank's saved gives him a look of gratitude.
Cologne: From the Diary of Ray and Esther is a 1939 short documentary film which deals with the German-American community on the eve of World War II. It was directed by Esther Dowidat and Raymond Dowidat.In 2001, Cologne was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".