Author: Richard Brown<br />File Type: pdf<br />The 100th anniversary of cinema was marked throughout the world in 19956. Amongst the widespread celebrations it was largely overlooked that genuine motion pictures had been commercially shown 101 years earlier, and that the origins of the film industry lay in a peepshow device rather than the more familiar movie projector. Introduced in New York in April 1894 and in Paris and London later in the same year, Thomas Edisons electrically-driven Kinetoscope was the first practical method of film exhibition. Around a thousand of these state-of-the art machines were manufactured, featuring the first brief fiction films and the earliest newsreels. Techniques such as the close-up and stop-editing were introduced and the 35mm film employed became a universal standard. Edison was able to influence the development of the device in the United States, but he soon lost control of the British and European markets. Spearheaded by two entrepreneurial Greek merchants, George Georgiades and George Tragides, a large and often colorful group of showmen began to exploit the new invention. With Edison neglecting to obtain European patents, his agents fought a losing battle to stem an influx of bogus Kinetoscopes onto the market. Leading the construction of replica Kinetoscopes was a young and ambitious electrical engineer who was to become central to the development of world cinema. In his business arrangements with the Greeks Robert William Paul operated close to the limits of legality, a risk-taking attitude that also led him to enter into a partnership with the notorious fraudster and self-publicist Viscount Hinton. The rush to exploit the Kinetoscope faltered when Edison refused to supply films for pirate machines, but regained momentum when Paul and the American Birt Acres constructed their own camera, shooting the first British movies in MarchApril 1895. The turbulent and often unlikely events of 18945 were a crucial prelude to the birth of British cinema. The posit **About the Author Richard Brown is author of The History of the British Mutoscope and Biograph Company and editor of the facsimile edition of W. K-L. Dicksons The Biograph in Battle Its Story in the South African War. Barry Anthony is author of Murder, Mayhem and Music Hall and contributor to Whos Who of Victorian Cinema the Encyclopaedia of Early Cinema and Directors in British and Irish Cinema A Reference Companion.