Bauhaus-Universität Weimar

had to be extremely short in order to give 
distinct pictures. The slightest lengthening 
would make the movement of the film itself 
visible and produce a blurring effect. This 
time was sufficient for the seeing of the 
picture; it could not be sufficient for the 
greatly enlarged view on the wall. Too little 
light passed through to give a distinct im¬ 
age. Hence it became essential to trans¬ 
form the continuous movement of the film 
into an intermittent one. The strip of film 
must be drawn before the lens by jerking 
movements so that the real motion of the 
strip would occur in the periods in which 
tiie shutter was closed, while it was at rest 
for the fraction of time* in which the light 
of the projection apparatus .passed through. 
Both Lumière and Paul overcame this diffi¬ 
culty and secured an intermittent pushing for¬ 
ward of the pictures for three-quarters of an 
inch, that is for the length of the single pho¬ 
tograph. In the spring of 1895 Paul’s the- 
atrograph or animatograph was completed, 
and in the following year he began his engage¬ 
ment at the Alhambra Theater, where the nov¬ 
elty was planned as a vaudeville show for 
a few days but stayed for many a year, 


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