Early film historians and journalists chose to perpetuate and embellish the legend of Edison's preeminence in the development of motion pictures. In fact, as the painstaking and voluminous research of Gordon Hendricks has shown, the true credit for the creation of the first motion picture camera (kinetograph) and viewing machine (kinetoscope) belongs to Edison's employee, W. K. L. Dickson. Between 1888 and 1896, Dickson was "the center of all Edison's motion picture work during the crucial period of its technical perfection, and when others were led to the commercial use of the new medium, he was the instrument by which the others brought it into function." Edison himself admitted in 1895 that his reason for toying with motion pictures was "to devise an instrument which should do for the eye what the phonograph does for the ear"; however, his interest in motion pictures always remained subordinate to his passion for the phonograph.
With the perfection of a moving picture camera in 1892, and the subsequent invention of the peep hole kinetoscope in 1893, the stage was set for the modern film industry. Previewed at the Columbian Exposition in Chicago during the summer of 1893, the kinetoscope could handle only one customer at a time. For a penny or a nickel in the slot, one could watch brief, unenlarged 35-mm black-and-white motion pictures. The kinetoscope provided a source of inspiration to other inventors; and, more importantly, its successful commercial exploitation convinced investors that motion pictures had a solid financial future. Kinetoscope parlors had opened in New York, Chicago, San Francisco, and scores of other cities all over the country by the end of 1894. The kinetoscope spread quickly to Europe as well, where Edison, revealing his minimal commitment to motion pictures, never even bothered to take out patents.
At this time the Dickson-Edison kinetograph was the sole source of film subjects for the kinetoscopes. These early films were only fifty feet long, lasting only fifteen seconds or so. Beginning in 1893 dozens of dancers, acrobats, animal acts, lasso throwers, prize fighters, and assorted vaudevillians traveled to the Edison compound in West Orange, New Jersey. There they posed for the kinetograph, an immobile camera housed in a tarpaper shack dubbed the "Black Maria," the world's first studio built specifically for making movies.
With the technology for the projection of motion pictures a reality, where were they to be shown? Between 1895 and 1905, prior to the nickelodeon boom, films were presented mainly in vaudeville performances, traveling shows, and penny arcades. Movies fit naturally into vaudeville; at first they were merely another novelty act. Audiences literally cheered the first exhibitions of the vitascope, biograph, and cinematograph in the years 1895 to 1897. But the triteness and poor quality of these early films soon dimmed the novelty and by 1900 or so vaudeville shows used films mainly as chasers that were calculated to clear the house for the next performance. Itinerant film exhibitors also became active in these years, as different inventors leased the territorial rights to projectors or sold them outright to enterprising showmen.
By 1909 motion pictures had clearly become a large industry, with three distinct phases of production, exhibition, and distribution; in addition, directing, acting, photography, writing, and lab work emerged as separate crafts. The agreement of 1909, however, rather than establishing peace, touched off another round of intense speculative development, because numerous independent producers and exhibitors openly and vigorously challenged the licensing of the Patent Company. In 1914, after five years of guerrilla warfare with the independents, the trust lay dormant; the courts declared it legally dead in 1917. Several momentous results accrued from the intense battle won by the innovative and adventurous independents. They produced a higher quality of pictures and pioneered the multireel feature film. Under their leadership Hollywood replaced New York as the center of production, and the star system was born. At the close of the world war, they controlled the movie industry not only in America, but all over the globe.
Of all the facets of motion picture history, none is so stunning as the extraordinarily rapid growth in the audience during the brief period between 1905 and 1918. Two key factors, closely connected, made this boom possible. First, the introduction and refinement of the story film liberated the moving picture from its previous length of a minute or two, allowing exhibitors to present a longer program of films. One-reel westerns, comedies, melodramas, and travelogues, lasting ten to fifteen minutes each, became the staple of film programs until they were replaced by feature pictures around World War I. George Melies, Edwin S. Porter ( The Great Train Robbery, 1903), and D. W. Griffith, in his early work with Biograph ( 1908 to 1913), all set the pace for transforming the motion picture from a novelty into an art.