exposure through the opening in the revolving shutter 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 image.
Hence it became essential to transform 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 the 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 difficulty and secured an
intermittent pushing forward of the pictures for three-quarters of an
inch, that is for the length of the single photograph. In the spring of
1895 Paul's theatrograph or animatograph was completed, and in the
following year he began his engagement at the Alhambra Theater, where
the novelty was planned as a vaudeville show for a few days but stayed
for many a year, since it proved at once an unprecedented success. The
American field was conquered by the Lumière camera. The Eden Musée was
the first place where this French kinematograph was installed. The
enjoyment which today one hundred and twenty-five thousand moving
picture theaters all over the globe bring to thirty million people daily
is dependent upon Lumière's and Paul's invention. The improvements in
the technique of taking the pictures and of projecting them on the
screen are legion, but the fundamental features have not been changed.
Yes; on the whole the development of the last two decades has been a
conservative one. The fact that every producer tries to distribute his
films to every country forces a far-reaching standardization on the