Mounted Police Charge
"A Battalion of New York's Famous Mounted Police at Inspection"
Plot
This short documentary film captures a battalion of New York's mounted police as they approach the camera at a break-neck gallop. The officers, mounted on their horses, ride in formation for what appears to be an inspection or demonstration. The camera remains stationary as the mounted unit charges directly toward the viewer, creating a sense of movement and excitement that was novel for early cinema audiences. The film concludes as the police unit reaches the camera position, showcasing the power and discipline of New York's mounted police force.
Director
About the Production
Filmed using Edison's Kinetograph camera, likely at the Edison Studio in Black Maria or on location in New York. The film was shot on 35mm film at approximately 16 frames per second. James H. White was one of Edison's principal cinematographers during this period. The mounted police unit was likely arranged specifically for filming, as early cinema often staged 'actualities' for maximum dramatic effect.
Historical Background
1896 was a pivotal year in cinema history, marking the transition from peep-show viewing devices like Edison's Kinetoscope to projected motion pictures. The Vitascope, which Edison licensed from Thomas Armat, premiered in April 1896 and revolutionized film exhibition. This film was produced during the early days of projected cinema, when filmmakers were still discovering what kinds of subjects would captivate audiences. The late 1890s also saw the rise of actuality films, which presented real or staged scenes of everyday life and current events. New York City in 1896 was undergoing rapid modernization, with its police force, including mounted units, symbolizing urban order and progress. The film also reflects the American fascination with law enforcement and military spectacle during the Gilded Age.
Why This Film Matters
As one of the earliest American motion pictures, 'Mounted Police Charge' holds significant cultural and historical value. It represents the birth of documentary filmmaking in America and the early cinema industry's focus on presenting spectacle and movement to dazzle audiences. The film exemplifies how early cinema captured and preserved images of American urban life in the late 19th century. It also demonstrates the emerging visual language of cinema, with its use of movement toward the camera creating dramatic tension. The film's subject matter reflects contemporary American values regarding law, order, and civic pride. As part of Edison's output, it contributed to establishing the United States as a major player in the emerging global film industry, competing with early European filmmakers like the Lumière brothers.
Making Of
The filming of 'Mounted Police Charge' represents typical Edison production methods of 1896. James H. White, working as Edison's principal cameraman, would have arranged with the New York City Police Department to film their mounted unit. The filming likely took place outdoors in a location where the horses could gallop safely toward the stationary camera. The Edison Kinetograph camera was bulky and required hand-cranking, making spontaneous filming difficult. The 'inspection' aspect mentioned in the catalog was likely a staged scenario to provide context for what was essentially a demonstration of cinematic spectacle. Early Edison films often featured subjects moving directly toward or away from the camera to maximize the illusion of depth and movement for audiences who had never seen projected motion pictures before.
Visual Style
The cinematography in 'Mounted Police Charge' represents typical Edison camera work of 1896. The film was shot using a stationary Edison Kinetograph camera, which was hand-cranked to capture approximately 16 frames per second. The camera position was fixed, creating a single continuous shot that follows the mounted police as they approach. This straightforward approach was characteristic of early cinema, when filmmakers were still exploring the possibilities of the medium. The composition places the camera directly in the path of the charging horses, maximizing the sense of movement and creating dramatic tension. The black and white imagery, captured on 35mm film, shows the technical limitations of the era but also demonstrates the remarkable clarity that Edison's equipment could achieve. The lighting would have been natural, as artificial lighting was rarely used in outdoor filming of this period.
Innovations
While 'Mounted Police Charge' does not represent major technical innovations, it exemplifies the state of filmmaking technology in 1896. The film was shot on Edison's 35mm film stock, which would become the industry standard for decades. The camera's ability to capture clear images of moving subjects at relatively high speeds was significant for the era. The film's exhibition on the Vitascope projection system represented a major advancement from earlier peep-show devices, allowing larger audiences to experience motion pictures simultaneously. The successful capture of galloping horses demonstrated the improving sensitivity of film stock and the advancing capabilities of motion picture cameras. This film, along with others from the period, helped establish technical standards for frame rates, film gauge, and projection that would influence cinema for years to come.
Music
Like all films of 1896, 'Mounted Police Charge' was originally silent. During exhibition, music would have been provided live in the theater, typically by a pianist or small orchestra. The musical accompaniment would have been selected to match the action on screen, likely featuring galloping rhythms or military-style music to complement the mounted police theme. Some exhibitors may have used sound effects, such as hoof beats or police whistles, created manually during the screening. The concept of a synchronized film soundtrack would not emerge until the late 1920s, more than three decades after this film was made.
Famous Quotes
A battalion of New York's famous mounted police at inspection. They approach at break-neck gallop.
Edison Manufacturing Company Catalog],
memorableScenes
The climactic moment when the mounted police unit charges directly toward the camera, creating a thrilling sense of movement and proximity that was revolutionary for 1896 audiences
preservationStatus
The film is preserved in the Library of Congress and other film archives. It is part of the collection of early Edison films that have survived from the 1890s. The film has been digitized and is available through various archival and educational platforms. While some early Edison films are lost or exist only in fragments, 'Mounted Police Charge' survives in relatively good condition considering its age.
whereToWatch
Library of Congress National Screening Room,Museum of Modern Art Film Collection,Edison National Historic Site archives,Various educational film archives and databases
Did You Know?
- This film was part of Edison's early 'actuality' films, which were short documentaries of real events or staged scenes presented as reality
- James H. White was one of the most prolific early American filmmakers, directing hundreds of shorts for Edison between 1896-1905
- The film was exhibited on Edison's Vitascope projection system, which helped launch the era of projected motion pictures in America
- Mounted police were a common sight in 1890s New York City, with the force established in 1858
- The 'break-neck gallop' described in Edison's catalog was likely exaggerated for marketing purposes, as filming at true galloping speed would have been technically challenging
- This film represents an early example of what would become the 'chase' or 'action' genre in cinema
- Edison films of this era were typically sold by the foot, with this film likely being about 50 feet long
- The film was copyrighted by Edison Manufacturing Company, as was standard practice for Edison productions
- Early audiences were reportedly thrilled by the sense of movement and the apparent danger of horses charging toward the camera
- This film is sometimes confused with other Edison police films, such as 'New York Police Parade' (1897)
What Critics Said
Contemporary critical reception of individual Edison shorts in 1896 was minimal, as film criticism as we know it today did not exist. Trade publications like the New York Dramatic Mirror and The Clipper occasionally mentioned Edison films, typically focusing on their novelty value rather than artistic merit. Modern film historians and archivists recognize 'Mounted Police Charge' as an important example of early American cinema and Edison's actuality film style. The film is valued for its documentation of late 19th-century urban life and its role in the development of motion picture techniques. Current scholarship often cites such films when discussing the origins of documentary cinema and the evolution of film language in the 1890s.
What Audiences Thought
Audiences in 1896 were reportedly thrilled by films like 'Mounted Police Charge.' The spectacle of horses galloping directly toward the camera created a sense of excitement and even mild danger that was novel to viewers. Early film exhibitions often featured a variety of short subjects, and action-oriented films like this one were particularly popular. The sense of movement and the apparent three-dimensionality of the charging horses were especially impressive to audiences accustomed only to still photographs or live performances. Contemporary accounts suggest that such films often drew gasps and applause from theater audiences. The film's brevity (typically under 30 seconds) was standard for the era, as audiences were still being introduced to the medium and longer films had not yet become common.
Film Connections
Influenced By
- Edison's earlier actuality films
- Lumière brothers' documentary shorts
- Eadweard Muybridge's motion studies
This Film Influenced
- Subsequent police and military-themed films
- Early chase films
- Documentary shorts of the 1890s-1900s