This thirty-second stop-motion animated film shows animated matches coming to life and forming the words 'Send Matches to the Soldiers' on screen. The matches move and arrange themselves to spell out this patriotic message, demonstrating the innovative technique of object animation. The film concludes with the matches forming into a Union Jack flag, reinforcing the patriotic appeal. This simple yet effective animation was created as a propaganda piece to encourage British civilians to send matches to troops fighting in the Boer War in South Africa.
Created using stop-motion animation techniques with real matches as the animated objects. Cooper positioned each match individually and photographed them frame by frame to create the illusion of movement. The film was shot on 35mm film using a standard camera of the period. Cooper reportedly used a pin to carefully position each match for each frame, making the animation process extremely labor-intensive.
This film was created during the Second Boer War (October 1899 - May 1902), a conflict between the British Empire and two Boer republics in South Africa. The late 1890s was a period of intense patriotism in Britain, and the film industry was still in its infancy, with cinema having been invented only a few years earlier. The British public was heavily involved in supporting the war effort, and propaganda films like this were common. This was also the Victorian era, a time of great technological innovation and industrial progress. The film represents both the early days of cinema and the British Empire at the height of its power.
This film is historically significant as one of the very first examples of stop-motion animation ever created. It demonstrates how early filmmakers were already experimenting with the medium beyond simple recording of live events. The film represents an important milestone in the development of animation as an art form. It also serves as an example of early use of cinema for propaganda purposes, showing how the new medium was quickly adopted for political and social messaging. Cooper's work influenced generations of animators and helped establish Britain as an early center for animation innovation.
Arthur Melbourne Cooper created this film in his studio in St Albans using a primitive animation setup. He would place matches on a surface, photograph them, then move them slightly and photograph again. This frame-by-frame process required immense patience and precision. Cooper was inspired by the magic lantern shows and wanted to create something that could move beyond live-action. The patriotic message was particularly relevant as Britain was deeply engaged in the Boer War, and there was a genuine need for supplies for the troops. Cooper's innovative approach to animating everyday objects laid the groundwork for future stop-motion techniques.
The cinematography was basic but effective for its time, using standard 35mm film and early camera equipment. The focus was on the animated matches against a plain background to ensure maximum visibility. The lighting was likely natural or simple artificial illumination. The camera remained static throughout, focusing entirely on the animated objects. The simplicity of the visual presentation actually enhanced the magical effect of the animation.
This film pioneered stop-motion animation techniques using real objects. Cooper developed methods for positioning and animating small objects frame by frame that would influence future animators. The film demonstrated that inanimate objects could be brought to life through animation, expanding the creative possibilities of cinema. It also showed early use of animation for text formation, with the matches spelling out messages.
Silent film - no soundtrack was produced. In typical exhibition practice of the era, it would have been accompanied by live music, possibly a pianist or small orchestra in the venue. The music would likely have been patriotic in theme to match the film's message.
Send Matches to the Soldiers (animated text formed by matches)
Contemporary reception is largely undocumented due to the film's specialized purpose and the primitive state of film criticism in 1899. Modern film historians and animation scholars recognize it as a groundbreaking work. The British Film Institute considers it a significant milestone in animation history. Critics today view it as an important example of early experimental cinema and a precursor to modern stop-motion techniques.
The film was shown as part of variety programs in music halls and early cinemas. Contemporary audiences would have been amazed by the magical movement of inanimate objects, as animation was a completely new concept. The patriotic message would have resonated strongly with British audiences during the Boer War period. The novelty of seeing matches come to life and form words would have been a significant attraction in itself.
Only fragments of the original film survive. The British Film Institute holds portions of the film in their archive. Like many films from this era, much of the original has been lost due to the unstable nature of early film stock and lack of systematic preservation. What remains has been digitally restored and is considered a precious artifact of early cinema history.