Although the public's interest in these simple scenes -- the technical term for them is "actuality" -- was passing by the time Edwin S Porter shot this one, it is a pleasant effort for those of us who like dogs. The dog leaps at the bag, again and again, a healthy animal enjoying itself, until he finally grabs hold of it, and rips it to shreds. I've destroyed many a tennis ball playing with a dog like this.
Porter had been photographing items like this for Edison for three years and would soon enough prove himself the first great American director, primarily working in terms of film grammar; first he would borrow the techniques of silent lantern presentations, but would soon develop his own grammar, related to the way George Smith was producing films in England. Porter's would be more stage-like in cutting, and his voice would continue to give Edison films a unique look until 1912, when D.W. Griffith's grammar would overwhelm the industry.
All that was in the future. For the moment, nice doggie!
Porter had been photographing items like this for Edison for three years and would soon enough prove himself the first great American director, primarily working in terms of film grammar; first he would borrow the techniques of silent lantern presentations, but would soon develop his own grammar, related to the way George Smith was producing films in England. Porter's would be more stage-like in cutting, and his voice would continue to give Edison films a unique look until 1912, when D.W. Griffith's grammar would overwhelm the industry.
All that was in the future. For the moment, nice doggie!