Година 1903

This is the first movie version of the famous story. Alice dozes in a garden, awakened by a dithering white rabbit in waistcoat with pocket watch. She follows him down a hole and finds herself in a hall of many doors.

After the train station clerk is assaulted and left bound and gagged, then the departing train and its passengers robbed, a posse goes in hot pursuit of the fleeing bandits.

At the royal court, a prince is presenting the princess whom he is pledged to marry when a witch suddenly appears. Though driven off, the witch soon returns, summons some of her servants, and carries off the princess. A rescue party is quickly organized, but the unfortunate captive has been taken to a strange, forbidding realm, from where it will be impossible to rescue her without some special help.

A green-skinned demon places a woman and two courtiers into a flaming cauldron.

Porter's sequential continuity editing links several shots to form a narrative of firemen responding to a house fire. They leave the station with their horse drawn pumper, arrive on the scene, and effect the safe rescue of a woman from the burning house. But wait, she tells them of her child yet asleep in the burning bedroom...

The story of Jesus Christ, from the proclamation of His Nativity to His Ascension into heaven. Impressive staging and beautiful hand-coloring distinguish the film from its Passion-play counterparts; Its scale and dynamic crowds prelude the Italian epics to come.

With godly entrapments, Zeus appears on the horizon, engages Hermes as an audience, and tries to throw some thunderbolts. They fizzle. Hephaestus tries to make some repairs but succeeds only in heating the bolts and burning Zeus's hands. Zeus conjures nine muses, but do their incantations help? He dismisses them as well as a visiting Pan, and his fits of pique become counter-productive. Can he get his powers back?

This is a film taken of the execution of Topsy, an elephant employed to help build Luna Park on Coney Island.

The leader of a marching band demonstrates an unusual way of writing music.

The German legend of a scholar's unholy pact with the Devil would have been very familiar to most moviegoers (at least European ones), so Georges Méliès' early cinematic treatment likely got away with simply offering a fancifully illustrated late episode without the earlier narrative context (however, spoken narration provides some of the latter in this restored print). Tempted by Mephistopheles with all kinds of dancing and ethereal babes, Faust is at first excited and then terrified by the sight of various demons and monsters. The painted-set designers really went hog wild on this one, depicting the (sometimes sexy) torments of subterranean Hell with in bold terms (even when ballerinas prance in the foreground). (Dennis Harvey, Fandor)

Georgetown, 1901. A silver-mining town at 8,500 feet near the crest of the Rockies. Hooked somehow to the rear of a four-car passenger train is a camera that pans the scenery and, when the train goes around curves, looks ahead to see the engine and passenger cars: the passengers wave hundreds of white handkerchiefs out of the train's left-side windows for the benefit of the camera. The town comes into view; the tracks are above the town, so the camera looks down on dozens of modest rooftops as it pans the area. (AMB 1901, copyrighted 1903.)

A panorama shot of the Norwegian town and harbour of Hammerfest. Believed to be the earliest surviving film of Norway.

A simple scene of two rather flamboyantly-dressed Edwardian children attempting to feed a spoonful of medicine to a sick kitten. The film is important for being one of the earliest films to cut to a close-up, then back again to the same medium shot as before.

A woman being fitted for shoes exposes her ankle to the shoe clerk, who is intrigued. He kisses her, but her chaperone hits him with her umbrella.

An Egyptian prince has lost his beloved wife and he has sought a dervish who dwells at the base of the sphinx.

The scene is similar to that seen at Coney Island, where a number of shows are constantly going on.

Mary Jane tries to light the oven. When she's unsuccessful, she plays around, getting black boot polish on her face. She mugs before a mirror. Then, it's back to work. When the stove still won't light, she pours in paraffin, winks at the camera, and lights a match. Kaboom! Is there any rest for the foolish, even in the grave?

A juggler enters upon the scene, picks up a skull, throws it into the air, catches it in his hands, where it is transformed into a handkerchief. The handkerchief, after being twirled about a wand, is changed to a napkin, and afterward to a tablecloth. Out of the table cloth comes a servant.

A re-telling of the classic tale of Faust in all of two minutes by French filmmaker Alice Guy.

The film opens on a dressing room set with a mirror, dressing table, and chair center stage and a folded dressing screen on the left. A smiling, dark-haired woman enters through the door on stage right, unbuttoning a full-length polka-dot costume. As she undresses, she frequently looks directly at the camera and smiles. She removes her sash or cummerbund, the top with its trailing sleeves, and her skirt, leaving her clothed only in a sleeveless chemise. Smiling directly at the camera, she mischievously slips a strap of the garment off one shoulder, then ducks behind the screen.