One of the earliest suggestions of the possibility of utilizing photography for exhibiting the illusion of actual movement was made by Ducos, who, as early as 1864, obtained a patent in France, in which he said: "My invention consists in substituting rapidly and without confusion to the eye not only of an individual, but when so desired of a whole assemblage, the enlarged images of a great number of pictures when taken instantaneously and successively at very short intervals.... The observer will believe that he sees only one image, which changes gradually by reason of the successive changes of form and position of the objects which occur from one picture to the other. Even supposing that there be a slight interval of time during which the same object was not shown, the persistence of the luminous impression upon the eye will fill this gap. There will be as it were a living representation of nature and . . . the same scene will be reproduced upon the screen with the same degree of animation.... By means of my apparatus I am enabled especially to reproduce the passing of a procession, a review of military manoeuvres, the movements of a battle, a public fete, a theatrical scene, the evolution or the dances of one or of several persons, the changing expression of countenance, or, if one desires, the grimaces of a human face; a marine view, the motion of waves, the passage of clouds in a stormy sky, particularly in a mountainous country, the eruption of a volcano," etc.

Other dreamers, contemporaries of Ducos, made similar suggestions; they recognized the scientific possibility of the problem, but they were irretrievably handicapped by the shortcomings of photography. Even when substantially instantaneous photographs were evolved at a somewhat later date they were limited to the use of wet plates, which have to be prepared by the photographer and used immediately, and were therefore quite out of the question for any practical commercial scheme. Besides this, the use of plates would have been impracticable, because the limitations of their weight and size would have prevented the taking of a large number of pictures at a high rate of speed, even if the sensitized surface had been sufficiently rapid.

Nothing ever came of Ducos' suggestions and those of the early dreamers in this essentially practical and commercial art, and their ideas have made no greater impress upon the final result than Jules Verne's Nautilus of our boyhood days has developed the modern submarine. From time to time further suggestions were made, some in patents, and others in photographic and scientific publications, all dealing with the fascinating thought of preserving and representing actual scenes and events. The first serious attempt to secure an illusion of motion by photography was made in 1878 by Eadward Muybridge as a result of a wager with the late Senator Leland Stanford, the California pioneer and horse-lover, who had asserted, contrary to the usual belief, that a trotting- horse at one point in its gait left the ground entirely. At this time wet plates of very great rapidity were known, and by arranging a series of cameras along the line of a track and causing the horse in trotting past them, by striking wires or strings attached to the shutters, to actuate the cameras at the right instant, a series of very clear instantaneous photographs was obtained. From these negatives, when developed, positive prints were made, which were later mounted on a modified form of Zoetrope and projected upon a screen.

One of these early exhibitions is described in the Scientific American of June 5, 1880: "While the separate photographs had shown the successive positions of a trotting or running horse in making a single stride, the Zoogyroscope threw upon the screen apparently the living animal. Nothing was wanting but the clatter of hoofs upon the turf, and an occasional breath of steam from the nostrils, to make the spectator believe that he had before him genuine flesh-and-blood steeds. In the views of hurdle-leaping, the simulation was still more admirable, even to the motion of the tail as the animal gathered for the jump, the raising of his head, all were there. Views of an ox trotting, a wild bull on the charge, greyhounds and deer running and birds flying in mid- air were shown, also athletes in various positions." It must not be assumed from this statement that even as late as the work of Muybridge anything like a true illusion of movement had been obtained, because such was not the case. Muybridge secured only one cycle of movement, because a separate camera had to be used for each photograph and consequently each cycle was reproduced over and over again. To have made photographs of a trotting- horse for one minute at the moderate rate of twelve per second would have required, under the Muybridge scheme, seven hundred and twenty separate cameras, whereas with the modern art only a single camera is used. A further defect with the Muybridge pictures was that since each photograph was secured when the moving object was in the centre of the plate, the reproduction showed the object always centrally on the screen with its arms or legs in violent movement, but not making any progress, and with the scenery rushing wildly across the field of view!

In the early 80's the dry plate was first introduced into general use, and from that time onward its rapidity and quality were gradually improved; so much so that after 1882 Prof. E. J. Marey, of the French Academy, who in 1874 had published a well-known treatise on "Animal Movement," was able by the use of dry plates to carry forward the experiments of Muybridge on a greatly refined scale. Marey was, however, handicapped by reason of the fact that glass plates were still used, although he was able with a single camera to obtain twelve photographs on successive plates in the space of one second. Marey, like Muybridge, photographed only one cycle of the movements of a single object, which was subsequently reproduced over and over again, and the camera was in the form of a gun, which could follow the object so that the successive pictures would be always located in the centre of the plates.

The review above given, as briefly as possible, comprises substantially the sum of the world's knowledge at the time the problem of recording and reproducing animate movement was first undertaken by Edison. The most that could be said of the condition of the art when Edison entered the field was that it had been recognized that if a series of instantaneous photographs of a moving object could be secured at an enormously high rate many times per second--they might be passed before the eye either directly or by projection upon a screen, and thereby result in a reproduction of the movements. Two very serious difficulties lay in the way of actual accomplishment, however--first, the production of a sensitive surface in such form and weight as to be capable of being successively brought into position and exposed, at the necessarily high rate; and, second, the production of a camera capable of so taking the pictures. There were numerous other workers in the field, but they added nothing to what had already been proposed. Edison himself knew nothing of Ducos, or that the suggestions had advanced beyond the single centrally located photographs of Muybridge and Marey. As a matter of public policy, the law presumes that an inventor must be familiar with all that has gone before in the field within which he is working, and if a suggestion is limited to a patent granted in New South Wales, or is described in a single publication in Brazil, an inventor in America, engaged in the same field of thought, is by legal fiction presumed to have knowledge not only of the existence of that patent or publication, but of its contents. We say this not in the way of an apology for the extent of Edison's contribution to the motion-picture art, because there can be no question that he was as much the creator of that art as he was of the phonographic art; but to show that in a practical sense the suggestion of the art itself was original with him. He himself says: "In the year 1887 the idea occurred to me that it was possible to devise an instrument which should do for the eye what the phonograph does for the ear, and that by a combination of the two, all motion and sound could be recorded and reproduced simultaneously. This idea, the germ of which came from the little toy called the Zoetrope and the work of Muybridge, Marey, and others, has now been accomplished, so that every change of facial expression can be recorded and reproduced life- size. The kinetoscope is only a small model illustrating the present stage of the progress, but with each succeeding month new possibilities are brought into view. I believe that in coming years, by my own work and that of Dickson, Muybridge, Marey, and others who will doubtless enter the field, grand opera can be given at the Metropolitan Opera House at New York without any material change from the original, and with artists and musicians long since dead."