Rachael Low and Roger Manvell in their book, The History of British Film: 1896 - 1906, identified eight types of films prior to 1906.  These types were: actualities; interest films; topicals; panoramic films and travelogues; vaudeville; trick films; comedy; drama.(1)

Actualities: films with movement without topical or dramatic interest.  Film goers were satisfied to see any simple scenes from everyday life.(2)  The first films screened in Parramatta on Tuesday 8th February 1989, such street scenes and sea coast effects would be regarded as actualities(3) or one of the films screened by Alfred Mason in October 1898, Hyde Park London.(4)

General Interest: demonstration of the processes in actual life.(5)  Examples of this type of film would be Alfred Mason's screening of Toilers in the Forest screened in 1898 and George Snazelle's Our Navy screened on Tuesday 18th June 1901.(6)

Topicals (or news items): were of importance in ensuring the popularity of film.  Disguised as entertainment this form of presentation, the regular recording of events on film, became an essential for both the exhibitors and public.(7)  Some examples of topicals screened at Parramatta in the early days would have The Queen's [Victoria] Jubilee Procession in London (1897) and The Melbourne Cup of 1897 by Alfred Mason(8) and Boer War films by J. C. Williamson in July 1900.

Although, the Boer War films were guaranteed to be 'stirring scenes of battles and operation', not all film were genuine.  War pictures taken behind the line using the better but heavier filming equipment were deemed not to be exciting enough.  A number of English producers reconstructed front line events at home.(9)  At least two films shown by J. C. Williamson, were 'faked', Major Wilson's Last Stand (1899) and How Tommy Wins the V.C. (1899).

Panoramic films and travelogues: were originally included as actualities, but it did not take long for them to become a type of film in their own right.  Moving pictures for the first time gave audiences a direct reproduction of life in other countries.(10)  Once again films screened by Alfred Mason fall into this category, A Scene of Venice from a Gondola, Waterfall on the Rhine, Germany and Panorama of Venice.(11,12)  The screening of travel films in Parramatta led the Cumberland Argus and Fruitgrowers Advocate to state,

Nothing is more interesting or more appreciated, perhaps, than those pictures of the series which deal with travel, and the moving trains, rushing realistically on their way, never fail to appeal to those whose lot it may be to have but few opportunities for real travel.(13)

Vaudeville: these films were just as the name implied, film of vaudeville acts or theatre performances.  The following films, screened in Parramatta during October 1906, by Bert Howard, may fall into this category Bostock and Wobell's Circus on Tour and The Wild West Show.(14)

Trick: using double exposure, stop motion, fast and slow motion, animation, fades and dissolves film makers were to able to produce magic on the screen.  Some of these trick films had people appearing and disappearing, motor vehicles and people going up and down the sides of buildings and trips to the moon and the sun.  Examples of this type of film were screened by Bert Howard in October and November 1906, Impossible Voyage (1904) and The Dream of a Rarebit Fiend (1906).(15,16)

Comedy: in most cases the early comic films were a series of planned single shot incidents grouped together to produce laughter.  Often the comic films centred around marital strife, drunkenness, absence of cloths and physical cruelty.

Drama: at this early stage of film production there was little to distinguish between the various forms of drama, such as, romance, melodrama, drama and tragedy.  If the object of a comedy was to produce laughter.  Then, if a film produced an emotional response, sentiment, excitement or conflict of human relationships, it would be classed as a drama.  Films of this type would be The Prodigal Son (1905) screened at the Baptist Tabernacle during January 1907 and Village Fire Department (1907) screened by French's Moving Pictures in June 1907.

Films and vaudeville

After the initial screening of films by touring showmen, such as J.B. Wakely and Alfred Mason, the more notable J.C. Williamson and 'Banjo' Patterson or enterprising locals like Mr. Rennie screening from Pollock's store balcony, it mainly fell upon the vaudeville troupes to be the main provider of film entertainment to the people of Parramatta.

To the vaudeville manager the motion picture was just another visual novelty, similar to magic lantern shows, pantomime, puppetry and
melodrama, but they soon found that motion pictures were sometimes the "hit" of the bill.

As Robert C. Allen wrote in his study, Vaudeville and Film 1895-1915 : a Study in Media Interaction,

the motion picture was to the vaudeville managers, the ultimate vaudeville performer: it was familiar to audiences, yet, assuming a regular change of program, was always a novelty; it did not require elaborate sets or props, yet in the case of Méliès' trick films, could offer visual effects impossible to achieve in the most elaborate stage spectacle; its programs could be shortened to five minutes when the bill was too long, or expanded to twenty five when a human performer failed to make the show; its ability to document news events could be used to exploit public interest in the latest murder, natural disaster, or international conflict, while its ability to present the visually miraculous could be used to attract children.(17)

As time went by, motion pictures began to take up more of the vaudeville program.  As already mentioned the films produced in the early period of film production, usually of approximately six to eight minutes in duration, comprised specific genres: comedies, dramas (social problem films or melodramas), trick, travelogues, actualities (newsreels).  Using the structure derived from vaudeville in the arranging of relatively short items, programs would be arranged with balance and variety, appealing to a wider audience, in particular children.  Also, usually included in the program, were one or more variety acts; these would provide the audience with a contrast and a rest from the films.  Many of the programs presented included musical accompaniment by orchestras. 

The first screening, by a vaudeville troupe, was by the Jubilee Singers (previously known as M'Adoo's Jubilee Singers).  On Tuesday evening, 4th September 1900 they presented Passion Play of Oberammergau (1898).  Promoted as being originally filmed in Oberammergau, Bavaria, where the Passion Play had been performed since 1816.  It was actually filmed in New York by Richard Hollaman, and based on an American play by Salmi Morse.  With a running time of approximately 45 minutes, this might be regarded as the first narrative feature length film to be screened in Parramatta.  Accompanying the screening, special sacred music was sung by the Jubilee Singers.  There were twelve other artists on the program including Gauze, male mezzo soprano and female impersonator, Miss Dazalia Underwood, American nightingale and R.L. Allan, baritone.  This film was rescreened by J.A.D. Rodway on Tuesday, 27th May 1902.(18,19,20)

Once the permanent picture theatres were established the vaudeville circuits did not include the screening of films as part of their program.  However, this does not mean the relationship between vaudeville and films were permanently severed.  From the outset, both Bennington's and Butterfly used vaudeville acts as part of the evening's entertainment. 

In October 1912, George Ralph began to present an evening of vaudeville every Wednesday at the Star Theatre.  These Wednesday vaudeville evenings played to full houses and was advertised as, a change from the pictures.(21,22)  In September 1917, Bert Howard, the presenter of many films during 1906 and 1907, and his vaudeville troupe were booked for regular appearances.(23)

Theatre proprietors took advantage of every opportunity to attract audiences to their theatres and having the best vaudeville acts supporting the films was no exception.  Harry Mainsbridge announced that, by arrangement with Harry Rickard's Tivoli Theatre, we will present artists direct from the Tivoli Theatre.(24)

Australian films

The most prolific Australian film producers for the first part of the twentieth century were the Salvation Army's Limelight Department.  On Thursday, 3rd September 1903, they presented their production of Under Southern Skies (1902), "a wonderful recital of Australian progress, since Captain Cook landed on Botany Bay".  The presentation combined limelight slides and over 25 kinematograph films.  A lecture, presented by Special Officer Tippert, accompanied the presentation, which was divided into various segments eg. history, aboriginal life, forests, animals, farming, politics and Federation.  An arrangement of popular tunes, played by a Salvation Army band also accompanied the lecture.(25,26)

On Friday and Saturday, 27th and 28th December 1907, saw the screening of what has been credited as the first Australian, and possibly the first ever, feature length film, The Story of the Kelly Gang (1906) and the latest Australian feature film production, Robbery Under Arms (1907).  Both films had running times in excess of one hour and proved very popular with audiences.  However, the success of these films did not guarantee more Australian films to be produced.  Audiences in Parramatta would have to wait another four years for the next series of Australian bushranger films.(27)

The years 1911 and 1912 were the most significant for film production in Australia.  During these two years, 81 feature films were produced in Australia.(28)  These films were popularly received in the cinemas of the country and Parramatta was no exception.  In most cases the Australian film being screened that night would be the lead attraction in the cinema's advertising.  When Sweet Nell of Old Drury (1911) was screened at the Butterfly Picture Theatre, on 25th, 26th and 27th January 1911, Harry Mainsbridge estimated 10,000 people saw the film.  Some of these films were screened simultaneously in both theatres, Bennington's and Butterfly, and occasionally rescreened, by popular demand, months after their initial screening.

Most of these films used typical Australian themes and presented in Australian settings: bushrangers Ben Hall and his Gang (1911) and A Tale of the Australian Bush (1911); convicts Assigned Servant (1911) and One Hundred Years Ago (1911); outback life The Squatter's Son (1911) and Moora Neeya (1911); gold diggings The Miner's Curse (1911) and A Daughter of Australia (1912); Boar War Mates from the Murrumbidgee (1911).   There were also contemporary urban dramas, detective The Mystery of the Black Pearl (1912) and A Silent Witness (1912); horse racing Keane of Kalgoorlie (1911) and The Cup Winner (1911).  There were also films based on themes and locations from other countries: Irish drama Conn, the Shaughraun (1912); an Irish love story The Colleen Bawn (1911); international murder and intrigue in Italy Called Back (1911); the reign of Charles II Sweet Nell of Old Drury (1911); slavery in the southern states of the U.S.A The Octoroon (1912).

The screening of one particular Australian event, the Melbourne Cup, was very popular.  The first screening of the Melbourne Cup, in Parramatta, was by Alfred Mason, on Thursday 13th October 1898.(29)  It was advertised as the Melbourne Cup of 1897, although there is a possibility that the film might have been the Melbourne Cup of 1896.(30)  He was also to screen the 1898 Melbourne Cup on Tuesday, 8th November.(31)  In 1907, the Melbourne Cup was screened by Mr. E.T. Grigg, on Friday and Saturday, 27th and 28th December.(32)  The Cino-Casiongraph screened the 1909 running on Saturday, 6th November.(33)  Once the permanent picture theatres established the Melbourne Cup was screened annually usually only days after it was run.  When the 1917 Melbourne Cup was screened at the Butterfly Picture Theatre, it was noted that Mr. James Siely, 'the popular Parramatta racing man, was seen very plainly amongst a group of prominent racing men'.(34)

Other significant events were also recorded on film and screened at Parramatta.  The first aviation flight in Australia, by W.E. Hart, the Parramatta dentist, Aviation Flight at Penrith (1911), was at both Bennington's and Butterfly on Saturday 2nd December 1911.(35)  The naming of the federal capital of Australia, or Christening the Capital (1913) was screened at the Star Theatre on Monday, 31st March 1913.(36)  The Arrival of the Australian Battle Fleet in Sydney (1913), was filmed and screened on the same day, 4th October 1913.  Spencer's Studio had arranged to film, the arrival of the fleet, and distribute the film to sixty two theatres in and around Sydney.  Spencer used four operators, located at different around the harbour, rushed the film to Rushcutters Bay for developing and then delivered the completed film for screening.(37)  This film was screened at the Butterfly.(38)

The filming of events was not just confined to large spectacular national events or firsts.  What was happening in Parramatta was also recorded on film and screened in the local picture theatres. 

The first such films were advertisements for West's Pictures when they were screening at Parramatta Town Hall, during 1909 and 1910, in their advertisements were the words 'look out for West's taking pictures'.(39)  A common practice performed by West and also Harry Mainsbridge of the Butterfly Picture Theatre(40), and no doubt by the other exhibitors, was to film the locals, going about their business, during the preceding week.  This film would be screened at the Picture Theatre as an encouragement for the locals to come along and see themselves on the 'sheet' or screen.  This filming would be in addition to the various beauty competitions that were also on offer.

Events of a more serious or historical nature were also recorded.  When the ladies of Parramatta presented a set of five flags to the commanding officer of HMAS Parramatta in March 1911 cameras were there and the film was subsequently screened at the Butterfly a short time later.(41)   On 24th June 1911, the Butterfly Picture Theatre screened Parramatta and District Procession (1911) and Bennington's Picture Palace screened The Children's Coronation Festival (1911).(42)  Both these films were taken as the people of Parramatta both young and old celebrated the coronation of George V.  The actual film of the coronation was screened by both the Butterfly and Bennington's the following month.(43,44)  In November 1911, Parramatta held another celebration and street procession.  This time it was as a celebration of fifty years of Parramatta as a municipality and again the cameras were there to record the event.  The film was again screened at both theatres.(45,46)  When the Meggitt's factory was destroyed by fire in 1914, a film of the remains was screened at the Butterfly on Monday, 14th December.(47)

Many national and local events were recorded on film and screened in theatres as newsreels.  However, the company in 1910 that was given the responsibility was not of Australian origin, but the French company Pathé Frères.  When their newsreel commenced in 1910 it was called Pathé Australian Animated Gazette, changing its name to The Australian Gazette in 1914.(48)

International films, stars and directors

The most significant American film, of the first few years of the new century, to be screened at Parramatta, was The Great Train Robbery (1903), over the Friday and Saturday, 16th and 17th September 1904. The Great Train Robbery, has a place in film history.  It has aspects that make it unique, lasting twelve minutes long, it had a cast of forty, and contained a logical, semi-scripted narrative and moved quickly along to its final climax.  The ending (or beginning, depending on where the sequence was screened) contains a famous scene where the bandit points his gun at the audience and fires.  The Great Train Robbery is regarded as an important film due its advanced use of the story-film and set the direction of film and genre (western) for the future.(49,50)

Following two years after The Great Train Robbery (1903) was the most famous British story of the period Rescued By Rover (1905), screened by Bert Howard on the Monday, 22nd October 1906.  Running for approximately seven minutes, this film had a genuine sense of continuity revealing an advanced form of film technique.  It employed low camera angles, as compared to the static tripod height of other films, moves rapidly from scene to scene, employs a variety of indoor and outdoor locations and has a forward drive of movement which is matched by the cutting .(51,52)

October 1910, saw the first advertised screenings of films by three people who would become legends of silent cinema.  At the Butterfly Picture Theatre on Saturday, 1st October 1910, there was a screening of two D. W. Griffith films, Rich Revenge (1910), this film also included Mary Pickford in the cast, and A Child's Impulse (1910).  While a few weeks later, also at the Butterfly, on Wednesday, 26th October, there was a screening of Bad Man's Last Deeds (1910), starring Gilbert 'Broncho Billy' Anderson.  He may have also directed the film.(53,54)

Both D. W. Griffith and 'Broncho Billy' Anderson had made many films prior to these two films and many of them may have been screened earlier, but there are no screening details.  D. W. Griffith was to become the most prolific and successful of all silent film directors.  He would go on to make The Birth of a Nation (1915) and Intolerance (1916), both screened at Parramatta, and work further with Mary Pickford and other actors including Dorothy and Lillian Gish.  'Broncho Billy' Anderson directed and starred in nearly 400 films.  'Broncho Billy' was to become the most recognisable characters in silent cinema history and made Anderson the first cowboy movie hero.

As was the case at the time, many legends of the silent cinema, would have their films screened with no recognition of their contribution.  Actor's names, let alone director's names, did not appear in the advertising of any film they were associated.  The emphasis, at this time, was on the company that produced the film, such as, Vitagraph, Selig or Edison.  As time progressed the public demand for information about the stars increased, which was eventually quelled by the introduction of the fan magazine.  The introduction of an Australian fan magazine, Australian Moving Picture Annual can be traced back to 1913.

The first film star to have their name included, with the advertisement for a film in Parramatta, was Miss Asta Nielson, the Danish actress.  The film was The Four Daredevils, screened at the Bennington's on Thursday, 1st February 1912.  Following a few months later was, Sarah Bernhardt's appearance in Camille (1912), screened by Bennington's on Friday, 3rd May.  Although regarded more for her stage work than the small number of films in which she appeared, it was her name that was used to sell the film to the Parramatta audience.

In an advertisement, by Roberts' Star Theatre, in the Cumberland Argus and Fruitgrowers Advocate on 26th April 1913, listed the names of the main characters for the film, The Vengeance of Durand (1913).  These were Roger Lytton as Durand, Julia Swayne as the wife, Edith Storey as the daughter and Earle Williams as the artist.  This may have been a first, but it was shortlived as newspaper advertisements listing the stars of a film would not be seen for another couple of years.

In addition to the names already mentioned, the next actor's name to be mentioned in the advertising was, 'The World's Sweetheart', Mary Pickford.(55)  Her film was In the Bishop's Carriage (1913), screened on 20th December 1913.  Its from around this time that the star or stars of a film, as well as, the production company started to be used in advertising.  Some of the names of the stars advertised in Parramatta would remain known, such as, Douglas Fairbanks, Francis X. Bushman, Theda Bara and William S. Hart. While others would go the way of their films and be lost in time.

Mary Pickford's success in Parramatta was the same as any other place throughout the world.  In August 1914 the Butterfly Theatre ran a testimonial.  The promotional material read, testimonial from Parramatta to Mary Pickford, the idol of the picture lovers.  Sign the presentation album to this popular little lady.(56)

Charlie Chaplin's first film, Making a Living (1914), was screened on Saturday, 25th April 1914.(57)  However, his first advertised starring role was for The Fatal Mallet (1914), screened on Saturday, 15th August 1914.(58)   Charlie Chaplin was to become so popular that his name was included in advertising the titles of his films, e.g. Charlie the Champion, Charlie's New Job and Charlie in the Park were the advertised titles for The Champion (1915), His New Job (1915) and In the Park (1915) respectively.

Charlie Chaplin films were so popular that the enterprising Harry Mainsbridge screened Chaplin's six reel film, Tillie's Punctured Romance (1914), over three consecutive Saturday evenings, 7th, 14th and 21st August 1915.(59)  It would appear that having three, two reel Charlie Chaplin's, shown as a serial, was better than screening the full six reels in one evening.  This attempt to capitalise on Charlie Chaplin's popularity did not go uncriticised. Bennington's commented that they had "five reels of Chaplin" and, in justice to the public this picture will not be cut up and shown as a serial, but the whole five reels in one night.(60)  At this time, other than Tillie's Punctured Romance (1914), Charlie Chaplin did not make any film longer than two reels.(61)

Presentation

There was more than the presentation of the silent film in Parramatta than just their screening.  Accompanying the film were orchestras, choirs, effects, lecturers, sound on disc, as well as, the vaudeville entertainers already mentioned.

Silent films were never meant to be silent.  There was always some form of musical accompaniment and in some circumstances even sound effects.  Whether this musical accompaniment was to cover the sound of the projector, audience noise or to provide atmosphere is arguable.  But, once the projectors were moved into their own sound proofed bio box, music continued to cover the noise that would still exist with the audience coming and going and chattering.

Initially in Parramatta and possibly in some other towns the only musical accompaniment was the piano.  But it not take long for the films to have a small orchestra playing  accompanying music.  When films were screened as part of a vaudeville program, music would have been supplied by the vaudeville orchestra.  When the Salvation Army screened their films they were accompanied by the Salvation Army Biorama Band.  The Cino-Casinograph used an orchestra for it's screenings, from October 1909 to January 1910.

From the outset the permanent picture theatres in Parramatta and Granville had eight to ten piece orchestras and this would have remained so until the introduction of sound in the late 1920s.

For the screening of Quo Vadis (1913), at Wilke's Star Theatre on Saturday, 26th July 1913, the film was accompanied by a full orchestra, choir and effects.(62)  A 'good' choir was also used for the screening of The Silence of Dean Maitland (1914), at the Star Theatre on Monday and Tuesday, 13th and 14th July 1914.(63)  At the Butterfly, in addition to their eight musician orchestra, Harry Mainsbridge, obtained an Angelus Orchestra Piano.  The Angelus Orchestra Piano, an organ, harp and zither combination, was advertised as the only one of its kind in Australia.(64)  Some theatre proprietors took an active part in the musical accompaniment of the films they were screening.  For the reopening of the Alfred Picture Palace on Saturday 12th August 1916, the music was under Mr. Leabeater's own control.(65)

In addition to the films having a musical accompaniment, sometimes they were also accompanied by effects and a lecturer. 

Effects, were sound effects that were performed by people from behind the screen to coincide with what was happening on the screen.  The firing of a gun, the hissing of steam, pellets being shaken in barrel to represent rain, while thunder was represented by striking a sheet of iron.  Effects were used at the opening nights for both the Parramatta Picture Palace and the Butterfly Picture Theatre.  Other than for epics such as Quo Vadis (1913) the use of effects was not a common practice. 

Lecturers were used to explain the film to the audience as an introduction and as the film was being screened.  Lecturers had many uses.  They were used to silence the talkers, educate the audience, read the intertitles, provide dramatic commentary and explanation throughout the film and direct the audience to significant details on the screen.  Once the intertitles became more self explanatory the need for a lecturer was reduced.  However, when the feature film became more prevalent and the stories grew longer and more complex, clarity once again became an issue and there was a renewed demand for lecturers.  In Parramatta most of the early screenings the presenter would have acted as lecturer, such as, George Snazelle, when he screened Our Navy in June 1901.  The first advertised lecturer was Mr. Augustus Neville, and he lectured on Captain Starlight: Gentleman of the Road (1911), at the Butterfly on Saturday, 22nd April 1911.(66)  Most of the screenings with lecturers occurred in 1911, with only a few being held in later years. 

One possible reason for the infrequent use of effects and lecturers may have been the cost.  The cost of employing a lecturer and the arranging and rehearsing of people to handle the effects may have been too prohibitive for the town's theatres.

Although the film distribution companies encouraged theatres to make extensive use of both practices

Value of the Lecture and Effects There are films, some of the very best, that should not be put on without a lecture.  If for any reason you cannot secure a trained lecturer, take an encyclopedia, look the subject up, write out a short story of the thing, get a man who can read English, and whose voice can plainly be heard, and then before you start the picture give the people an inkling of what it is about.  No matter how poor the effort, it is better than no effort at all, and your patrons will appreciate the explanation.

In the matter of effects too great care cannot be taken.  A good effect will go well with any audience; a bad one is likely to create a demand for the "hook".  ...  Attempt no effect that have not been thoroughly rehearsed.  ...  All effects that work well and are skillfully prepared will delight, all others will disgust.(67)

Synconising sound with film was experimented with throughout the early history of film production.  In 1895 Edison introduced his kinetophone, which combined his kinetoscope and phonograph.  The viewer looked through a peephole and listened simultaneously to a recording through earphones.  The films were usually dances, musical numbers or scenes where spoken dialogue required only loose synchronisation.  The kinetophone was on display in many cities throughout Australia (not Parramatta) during 1895 and 1896.(68)

Although the kinetophone may not have reached Parramatta the other attempts at synchronising film and sound did.  In November 1909, the Cino-Casinograph, was providing sound through the use of the Cinephone.(69)  During 1913, the Butterfly Picture Theatre introduced Hepworth's Vivaphone(70) and Bennington's Picture Palace also introduced Edison's (newly designed) Kinetophone.(71)  This is the same year as they were introduced in their countries of origin England and the United States. 

The first use of the Vivaphone, in Parramatta, and Australia as it advertised, was Saturday, 16th August 1913 the advertising read

And as time goes on, you will be able to see and hear, a band marching down the street, playing; or some funny dialogue of a man building a fowlhouse; or setting from some Grand Opera - "Faust" for instance.  Also speeches made by some great magnate in the other part of the world.(72)

From the advertising the only films that were screened using this process was Faust, which ran for many weeks, and occasional new song.  The film and sound experiment only lasted a few months, there was no further advertising of the Vivaphone after October.

Edison's Kinetophone, 'direct from Spencer's theatres', made only one performance at Bennington's Picture Palace, on Saturday 22nd November 1913.(73)

World War I

It did not take long after war was declared, in August 1914, for the people of Parramatta to be shown moving pictures of the great conflict.

Initially, the films screened were a compilation of existing military and a few war specific newsreels.  On the 19th September 1914, the Butterfly Picture Theatre screened, 'first illustrated news concerning the great struggle'.  The films listed for screening were:

War Cloud - Stock Exchange closed - Germany mobilises against Russia - Britain ready - Coast Guards recalled - Our Flagship and our King - Run on the Bank of France - German reserves cheer for War outside embassy - French Reserves leave Folkstone for France - Mr. Asquith goes to Houses of Parliament - War declared against Germany - British Army mobilises - Britain's might - Views of the Fleet - Victory - Flying Flags - Nelson's message: 'England expects that everyman will do his duty' - The King's Message - Revive and renew old glories of the Royal Navy.(74)

In October 1914 the Topical Budget news film company, which had been in existence from the very early days of film production, sent some cameramen to Belgium to film the war.  Their first series of film screened in Parramatta, The German Army Entering Brussels (1914), was on the 14th November 1914 at the Butterfly Picture Theatre.  The film was four hundred feet long and contained sixteen separate scenes:

The German Army Entering Brussels

1. Remaining populace witness the entry of German Troops into their beloved city.

2. Arrival of the Transports, which are very heavy.

3. Fatigued troops taking a much needed rest after their entry into Belgian capital.

4. The Roll Call.  Counting the cost.

5. The Red Cross wagons carrying the wounded (or machine guns) into the captured country.

6. Germans' first meal in Brussels.  First thought after arrival is their stomachs.

RUINS OF TERMONDE

7. The desolate market square in Termonde: in time of peace a busy shopping centre.

8. The track of the German advance is everywhere marked by scenes of devastation and ruins.

9. Nothing is sacred or venerable in time of war.  All that is left is the Railway Bridge (Port-de-Escaur).

10. General view of town as seen from the famous Hotel-de-Ville.  Out of 1,400 houses, 1,100 were burnt to ashes.

11. Before leaving, the Germans pillaged and greatly destroyed the town.

12. Over 200 inhabitants who took refuge in their cellars were buried beneath ruins.

13. The desolate railway at mid-day - once a busy scene.

14. Barbed wire entanglement outside the town.

15. Entrenchment covered with earth to prevent them being located by aeroplane.

16. Wireless from War.(75)

The news films produced by Topical Budget were superior to the other news films produced at that time.  A description of another one of their films, The German Occupation of Historic Louvain (1914), screened at the Butterfly on Saturday 28th November 1915(76), shows the skills of the cameraman as he films the events so it can be presented in a narrative form.

Beginning with various shots of houses and churches shattered by shellfire, it then features a series of remarkably close shots of the German army both relaxing and marching in the town.  The structure of the film itself, progressing as it does from scenes of destruction to the casual army of occupation to final shots of goose stepping soldiers, conveys the impression and shock of the invasion.  One eloquent panning shot follows German troops as they leave by train, the camera continuing to pan as the train passes by, revealing the ruined buildings left behind.(77)

It did not take long for the British Army to stop all unauthorised filming of the war and the British government to establish a committee within the Foreign Office to supervise all official war propaganda.

From 1915 onwards the number and types of factual war films being advertised for screening in Parramatta was drastically reduced.  The films screened were either of general news or ones officially sanctioned, e.g. King George at the Front(78), Australian ANZACs Who Have Gained the V.C.(79) and Official War film no 2E - Army Veterinary Corps.(80)  The news reels or gazettes, at this time, had a mixture of material, the Pathé's English Gazette had 'coloured fashions for the ladies and war news for the men'.(81)

The British government's first official propaganda film, Britain Prepared (1916), was screened at the Butterfly Picture Theatre on Wednesday, 14th June 1916.(82)  Lasting for over three and a half hours the film was limited to three main areas of content: the army in training, the making of munitions and the navy.  A couple of months later the Butterfly Picture Theatre also screened Australia Prepared (1916) on Monday, 4th September 1916.(83)  A film with similar content to that of its British predecessor.  Another of the officially sanctioned films, Sons of the Empire (1917) was screened at Bennington's on Wednesday and Thursday, 18th and 19th December 1917.(84)  This film was ten reels in length and dealt with the winter in France in 1916 - 1917; preparing for the spring offensive; the fall of Bapaume on March 17th; pictures of the Navy after Jutland; the arrival of transports in France; aerial photography; preparations for the battle; and the aftermath.(85)

Some of the propaganda films of the United States were also screened at Parramatta, albeit a little too late.  On 7th December 1918, less than one month after the Armistice, Bennington's screened Pershing's Crusaders (1918).(86)  A production of the Division of Films, the U.S. government's official World War I propaganda agency, this feature length film was a compilation of Signal Corps news film.  The structure of the film is episodic in its presentation.

The film opens with scenes of the rubble of Belgium, the Lusitania, and captured German ships in New York.  It seems to develop an argument justifying America's intervention in the war, but quickly dissolves to a tour of President Wilson's office, a survey of Liberty Loan statistics, and a sequence showing how Army shoes and clothing are made. (87)

If the official films of World War I were slow to be produced, this not so for the fiction films. 

The first of Australia's World War I fiction films, to be screened at Parramatta, was A Long, Long Way to Tipperary (1914) screened at the Butterfly Picture Theatre on Friday and Saturday, 26th and 27th November 1914.(88)  Other Australian World War I fiction films screened included, A Hero of the Dardanelles (1915) at the Butterfly on Saturday 24th July 1915(89) and The Martyrdom of Nurse Cavell (1916) at both the Star and Globe Picture Theatres on Monday, 10th April 1916, it would be appear that this film may have been screened earlier and brought back by popular demand.(90)  While Australia's Peril (1917), a film capitalising with the paranoia of German spys in Australia and a German invasion of Sydney, was screened at the Butterfly on Thursday and Friday, 14th and 15th June 1917.(91)

British World War I fiction films were also screened in Parramatta.  On Saturday 13th February, 1915 the Star Picture Theatre screened For the Honour of Belgium (1914), 'where British tourists help household keep Uhlans at bay until troops arrive'.(92,93)  A few weeks later, on Saturday 6th March 1915, the Star screened Held By a Child (1914) 'showed how Small girl holds Uhlans at bay until troops arrive'.(94,95)  With story lines like these it is no wonder people thought the war would be over by Christmas.  These films had no relevance to what was really happening in the war and countries they were supposedly located and were not very well received at the box office.  The production of this type of World War I fiction was discontinued in 1915.(96)  The few battlefield films that followed were developed personal dramas related to a war background, e.g. 1914 (1915) screened at the Butterfly Picture Theatre on Saturday, 5th June 1915.(97)

The United States of America did not enter the war until April 1917, many of their prowar and preparedness films were screened at Parramatta.  The film The Battle Cry of Peace (1915), an account of an imaginary invasion of New York by a foreign power, was screened at the Butterfly Picture Theatre on Monday and Tuesday, 2nd and 3rd October 1916.(98)  Douglas Fairbanks appeared in In Again, Out Again (1917), as a young man who sets out to convert his girlfriend from pacifism to preparedness, screened at the Butterfly on Saturday, 29th December 1917.(99)  The most significant film of this time was Mary Pickford's, The Little American (1917) directed by Cecil B. DeMille, screened at Parramatta on Monday and Tuesday 29th and 30th April 1918 at the Butterfly.(100)  Regarded as America's and the World's Sweetheart, Mary Pickford starred as an American relief worker in Belgium who is captured by the Germans and threatened with a number of atrocities.  It has been stated that this film was one of the most significant of World War I.(101)

References

1.     Low, R. & Manvell, R.  (1948).  The history of the British film: 1896-1906.  London George Allen & Unwin. pp. 51-110.

2.     ibid.  p. 51.

3.     Cumberland Argus and Fruitgrowers Advocate.  12th February 1898.   p. 4.

4.     Cumberland Argus and Fruitgrowers Advocate.  19th October 1898.  p. 5.

5.     Low, R. & Manvell, R.  (1948).  The history of the British film: 1896-1906.  London George Allen & Unwin. p. 55.

6.     Cumberland Argus and Fruitgrowers Advocate.  19th June 1901.  p. 3.

7.     Low, R. & Manvell, R.  (1948).  The history of the British film: 1896-1906.  London George Allen & Unwin. p. 61.

8.     Cumberland Argus and Fruitgrowers Advocate.  8th October 1898.  p. 4.

9.     op cit. p. 68.

10.   Low, R. & Manvell, R.  (1948).  The history of the British film: 1896-1906.  London George Allen & Unwin. p. 71.

11.   Cumberland Argus and Fruitgrowers Advocate.  8th October 1898.  p. 4.

12.   ibid.  19th October 1898.  p. 5

13.   ibid.  2nd February 1907.  p. 4

14.   ibid.  29th September 1906.  p. 9

15.   ibid.

16.   ibid.  10th November 1906.  p. 9

17.   Allen, R.C.  (1980).  Vaudeville and film 1895 - 1915: a study in media interaction.  New York, Arno Press.  p. 310-326.

18.   Cumberland Argus and Fruitgrowers Advocate.  1st September 1900.  p. 12.

19.   Long, C. & Sowry, C.  (1994).  Australia's fist films: part eight: soldiers of the cross.  Cinema Papers, 99, p. 60-67, 82-83.

20.   Cumberland Argus and Fruitgrowers Advocate.  24th May 1902.  p. 9.

21.   ibid.  19th October 1912.  p. 1.

22.   ibid.  24th July 1915.  p. 1.

23.   ibid.  8th September 1917.  p. 1

24.   ibid.  30th October 1915.  p. 11.

25.   Cumberland Argus and Fruitgrowers Advocate.  29th August 1903.  p. 2.

26.   Long, C.  (1995).  Australia's fist films: under southern skies (1902).  Cinema Papers, 106, p. 38-41, 54-55.

27.   op. cit.  25th December 1907.  p. 3.

28.   Pike, A. & Cooper, R.  (1998).  Australian film 1900-1977: a guide to feature film production. (Rev. ed.).  Melbourne, Oxford University Press.  pp. 12-37.

29.   Cumberland Argus and Fruitgrowers Advocate.  8th October 1898.  p. 4.

30.   Long, C.  (1995).  Australia's fist films: facts and fables.  Cinema Papers, 96, p. 33.

31.   Cumberland Argus and Fruitgrowers Advocate. 

32.   ibid.  25th December 1907.  p. 3

33.   ibid.  6th November 1909.  p. 12

34.   ibid.  21st November 1917.  p. 2.

35.   ibid.  2nd December 1911.  p. 5.

36.   ibid.  29th March 1913.  p. 1

37.   Reade, E.  (1970).  Australian silent films: a pictorial history of silent films from 1896 to 1929. p. 72-73. Melbourne,Lansdowne Press.

38.   Cumberland Argus and Fruitgrowers Advocate.  4th October 1913.  p. 5

39.   ibid.  8th January 1910. p. 7.

40.   The viewing of footage of Parramatta, ca. June/July 1911, from the National Film and Sound Archive, shows the filming of members of the community advertising the coming attractions at the Butterfly Picture Theatre.

41.   Cumberland Argus and Fruitgrowers Advocate.  29th March 1911.  p. 3 &    .

42.   ibid.  24th June 1911.  p. 12.

43.   ibid.  19th July 1911.  p. 3

44.   ibid.  22nd July 1911.  p. 3

45.   ibid.  22nd November 1911.  p. 3

46.   ibid.  25th November 1911.  p. 11

47.   ibid.  12th December 1914.  p. 5.

48.   Shirley, G.  (1994).  Australian cinema: 1896 to the renaissance.  In Murray, S. (ed.). Australian Cinema.  St. Leonards, NSW, Allen & Unwin.

49.   Cumberland Argus and Fruitgrowers Advocate.  14th September 1904.  p. 3.

50.   Katz, E.  (1982).  The international film encyclopedia.  London, Papermac.  p. 924.

51.   Cumberland Argus and Fruitgrowers Advocate.  20th October 1906.  p. 9.

52.   Low, R. & Manvell, R.  (1948).  The history of the British film: 1896-1906.  London, George Allen & Unwin.

53.   ibid.  1st October 1910.  p. 12.

54.   ibid.  26th October 1910.  p.3.

55.   Katz, E.  (1982).  The international film encyclopedia.  London, Papermac.  p. 913.

56.   Cumberland Argus and Fruitgrowers Advocate.  1st August 1914.  p. 5.

57.   ibid.  25th April 1914.  p. 5

58.   ibid.  15th August 1914.  p. 5

59.   ibid.  7th August 1915.  p. 5 and 14th August 1915.  p. 5

60.   ibid.  7th August 1915.  p. 11.

61.   Refer the following publications: The films of Charlie Chaplin by G. D. McDonald, M. Conway and Mark Ricci, Bonza Books; My autobiography by Charles Chaplin, Penguin Books; The early works of Charles Chaplin by Theodore Huff, British Film Institute.

62.   Cumberland Argus and Fruitgrowers Advocate. 26th July 1913.  p. 3

63.   ibid.  11th July 1914.  p. 7.

64.   ibid.  21st November 1914.  p. 11.

65.   ibid.  16th August 1916.  p. 2.

66.   ibid.  22nd April 1911.  p. 12.

67.   The photo play.  1 (30), 27 July 1912.  p. 215-216.

68.   Long, C.  (1993).  Australia's first films: facts and fables.  Cinema Papers, 91, p. 41.

69.   Cumberland Argus and Fruitgrowers Advocate.  13th November 1909.  p. 12.

70.   ibid.  16th August 1913.  p. 1.

71.   ibid.  22nd November 1913.  p. 1.

72.   ibid.  16th August 1913.  p. 1.

73.   ibid.  22nd November 1913.  p. 1.

74.   ibid.  19th September 1914.  p. 5.

75.   ibid.  14th November 1914.  p. 5.

76.   ibid.  28th November 1914.  p. 5.

77.   McKernan, L.  (1992).  Topical buget.  p. 25.  London, British Film institute.

78.   Cumberland Argus and Fruitgrowers Advocate.  6th March 1915.  p. 5.

79.   ibid.  19th February 1916.  p. 10.

80.   ibid.  9th September 1916.  p. 10.

81.   ibid.

82.   ibid.  10th June 1916.  p. 5.

83.   ibid.  2nd September 1916.  p. 5.

84.   ibid.  14th December 1917.  p. 1.

85.   Low, R.  (1948).  The history of the British film: 1914 - 1918.  p. 158.  London, George Allen & Unwin.

86.   Cumberland Argus and Fruitgrowers Advocate.  7th December 1918.  p. 1.

87.   Ward, L.W.  (1981).  The motion picture goes to war: the U.S. government film effort during World War I.  Ann Arbor, Michigan, UMI Research Press. p. 95.

88.   ibid.  28th November 1914.  p. 5.

89.   ibid.  24th July 1915.  p. 5.

90.   ibid.  8th April 1916.  p. 1.

91.   ibid.  16th June 1917.  p. 5.

92.   ibid.  13th February 1915.  p. 7.

93.   Gifford, D.  (1986).  The British Film Catalogue 1895 - 1970 : A Guide to Entertainment Films.  Newton Abbot, England, David & Charles.

94.   Cumberland Argus and Fruitgrowers Advocate.  6th March 1915.  p. 1

95.   Gifford, D.  (1986).  The British Film Catalogue 1895 - 1970 : A Guide to Entertainment Films.  Newton Abbot, England, David & Charles.

96.   Low, R.  (1948).  The history of the British film: 1914 - 1918.  p. 182, 184.  London, George Allen & Unwin.

97.   Cumberland Argus and Fruitgrowers Advocate.  5th June 1915.  p. 5.

98.   ibid.  30th September 1916.  p. 5.

99.   ibid.  29th December 1917.  p. 1.

100. ibid.  27th April 1918.  p. 4.

101. Spears, J.  (1971).  Hollywood: the golden era.  p. 23.  Cranbury, NJ, A.S. Barnes and Co.