The date was December 28, 1895. The place was the basement of a cafe in Paris. The audience was the first public one to pay its way to watch movies, paying to be fascinated by moving images of a baby eating his meal, workers leaving a factory, and a train rushing into a station. The scenes were taken from ordinary life, but the experience was far from ordinary. This event was produced by the Lumière brothers, but the technology that led to this moment had been the result of the imagination and persistence of many inventors, both in Europe and America.
Eadweard Muybridge in 1877 had discovered that sequential still photographs of a horse running could be placed in a series and "projected" in such a manner as to make the photographic image of the horse appear to be running. In New Jersey in the late 1880s Thomas Edison and his crew led by William Dickson developed the idea of putting photographs on a single piece of continuous film, and George Eastman supplied the film. For projection Edison decided on the Kinetoscope, a peephole machine through which the film could be shown to one person at a time. Several creative inventors worked on the idea of a projector, but it was finally the Lumière brothers who were able to adapt Edison's ideas and develop the first practical means of allowing many people to view a movie simultaneously. The history of this new art form was then to be written in light.
Once the photographic technology had been developed, the next stage was to decide what to do with it. Obviously audiences could not long be enthralled by shots of a baby eating and would demand more. Both the Lumières and Edison attempted to expand the cinematic subject matter; but it was another Frenchman, George Melies, who first achieved any success at telling a story with film. He was a magician who used the medium as part of his act, but in the process he began to depict plot as well as action. His most famous film was A Trip to the Moon ( 1902) which described a fanciful space voyage.
In order to develop a narrative process for film, the filmmaker had to learn to manipulate both space and time, to change them, and to move characters and action within them much as a novelist does. What Melies had begun, Edison and his new director of production continued. Edwin S. Porter learned how to use dissolves and cuts between shots to indicate changes in time or space, or both; the result was The Great Train Robbery ( 1903). This Western, shot in the wilds of New Jersey, told the complete story of a train robbery, the chase of the bandits, and their eventual defeat in a gunfight with the posse. Cross-cutting allowed Porter to show in sequence activities of both the posse and the bandits that were supposed to take place at the same time.