Edwin S. Porter

Edwin S. Porter (born April 21, 1870, Connellsville, Pennsylvania, U.S.—died April 30, 1941, New York, New York) was a pioneer American film director whose innovative use of dramatic editing (piecing together scenes shot at different times and places) in such films as The Life of An American Fireman (1903) and The Great Train Robbery (1903) revolutionized filmmaking.

Early career

Porter coinvented a device to regulate the intensity of an electric light in 1891. He subsequently opened a tailor business, but after that venture went bankrupt, he joined the U.S. Navy (1893–96). In 1896 several of Porter’s friends bought from Raff & Gammon the exclusive rights to show films by using the Edison Company’s new Vitascope projector in Indiana and California, and Porter worked with them as a projectionist in Los Angeles and Indianapolis. Later that year he went to work for Raff & Gammon in New York but left after the Edison Company broke with Raff & Gammon. He then toured with vaudeville entertainers through the Caribbean as an exhibitor of motion pictures, and in early 1897 he helped build the projector at the Eden Musée, a wax museum and theatre in New York City. He then worked as an exhibitor in Canada during the summer of 1897 before returning to the Eden Musée as a projectionist.

In 1900 Porter was hired by the Edison Company to make improvements to and redesign their motion-picture equipment, and he was soon placed in charge of Edison’s skylight studio on East 21st Street in New York City. For the next few years he served as director-cameraman for much of Edison’s output, starting with simple one-shot films (Kansas Saloon Smashers [1901]) and progressing rapidly to films with special effects (The Finish of Bridget McKeen [1901]) and short multiscene narratives based on political cartoons and contemporary events (Sampson-Schley Controversy [1901] and Execution of Czolgosz, with Panorama of Auburn Prison [1901]). Porter also filmed the extraordinary Pan-American Exposition by Night (1901), which used time-lapse photography to produce a circular panorama of the exposition’s electrical illumination, and the 10-scene Jack and the Beanstalk (1902), a narrative that simulates the sequencing of magic lantern slides to achieve a logical, if elliptical, spatial continuity.

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A revolution in filmmaking

It was probably Porter’s experience as a projectionist at the Eden Musée that ultimately led him in the early 1900s to the practice of continuity editing. The process of selecting one-shot films and arranging them into a 15-minute program for screen presentation was very much like that of constructing a single film out of a series of separate shots. Porter, by his own admission, was also influenced by other filmmakers—especially Georges Méliès, whose Le Voyage dans la lune (A Trip to the Moon [1902]) he came to know well in the process of duplicating it for illegal distribution by Edison in October 1902. Years later Porter claimed that the Méliès film had given him the notion of “telling a story in continuity form,” which resulted in The Life of an American Fireman (six minutes, produced in late 1902 and released in January 1903). This film, which was also influenced by James Williamson’s Fire! (1901), combined archival footage with staged scenes to create a nine-shot narrative of a dramatic rescue from a burning building.

A major problem for early filmmakers was the establishment of temporal continuity from one shot to the next. Porter’s The Great Train Robbery (1903) is widely acknowledged to be the first narrative film to have achieved such continuity of action. The film depicts the robbery, the formation of a posse, and its pursuit and elimination of the gunmen. The Great Train Robbery comprised 14 separate shots of noncontinuous, nonoverlapping action and was a major departure from the frontally composed, theatrical staging used by Méliès and most other filmmakers. The film ended with a startling close-up of one of the outlaws firing his gun at the camera.

The industry’s first major box-office success, The Great Train Robbery is credited with establishing the realistic narrative, as opposed to Méliès-style fantasy, as commercial cinema’s dominant form. The film’s popularity encouraged investors and led to the establishment of the first permanent film theatres, or nickelodeons, across the country. Running about 12 minutes, it also helped to boost standard film length toward one reel, or 1,000 feet (305 metres [about 16 minutes at the average silent speed]). Despite the film’s success, Porter continued to practice overlapping action in such conventional narratives as Uncle Tom’s Cabin (1903) and the social justice dramas The Ex-Convict (1904) and The Kleptomaniac (1905). He experimented with model animation in The Dream of a Rarebit Fiend (1906) and The Teddy Bears (1907) but lost interest in the creative aspects of filmmaking as the process became increasingly industrialized. In 1907 Porter gave future filmmaker D.W. Griffith his first film acting role, in Rescued from an Eagle’s Nest. After a demotion, Porter left Edison in 1909 to pursue a career as a producer and equipment manufacturer. Like Méliès, he could not adapt to the linear narrative modes and assembly-line production systems that were developing.

Porter founded the Defender Film Company in 1910 and then the Rex Motion Picture Manufacturing Company in 1911. In 1912 he joined Adolph Zukor’s Famous Players Company, and among the films he directed was Mary Pickford’s first feature, A Good Little Devil (1914). He retired from moviemaking in 1915. Porter later became president of the Precision Machine Company, which made motion-picture cameras and projectors. He retired in 1925 and lost most of his fortune in the stock market crash of 1929.

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