You Remember Ellen (1912)

A young nurse is seated asleep on a bench with a small infant in her lap, while directly opposite her can be seen an old gentleman also snoozing. Two bad boys enter upon the scene, one gets a small log about the size of the child and places it in the nurse's lap and the other takes the child from the nurse, and lays it in the old gent's arms. In a few moments the old gent awakens and find the baby, nurse wakes up and misses her baby, and seeing it in the old gent's arms, seizes him and mops up the earth with him. A policeman marches them off to the station house. The picture is bound to provoke a great deal of mirth.

An Italian vendor puts his push cart in front of a dynamite storage shed, and the whole business blows up.

Merrymakers at Luna Park, Coney Island enjoying a ride on the famous camel, "Holy Moses."

A woman’s face disappearing behind, and emerging from, a pair of hands. Flashing lights. An empty building full of dark hallways. Designs drawn in the air with light and long-exposure cinematography.

Tom (Jensen Ackles) volta à sua cidade natal dez anos após o massacre do Dia dos Namorados, quando 22 pessoas foram assassinadas. Em sua volta, o protagonista acaba sendo o principal suspeito do massacre. Poucos acreditam em sua inocência, entre eles uma antiga paixão, Sarah Palmer (Jaime King), que está disposta a ajudá-lo.

Firemen on roof playing hose. Smoke & ladder visible. Pan across ground level of gutted building with some posters visible.

People waving goodbye to ship. High angle of intersection. People hurried off ferry. Pov on elevated. Views from? People on street & pov from trollies. Skating in central park & windy day on street with snowdrifts. Street scenes. Ice. Winter pedestrians. Ship sailing.

Em uma corrida internacional de carros, os concorrentes devem viajar a partir de vários pontos da Europa para Monte Carlo, e em seguida correr os seus carros. As coisas ficam complicadas por causa de Contrabando, Fraude, Honra, Invenções, Medicina e Amor à Primeira Vista.

In Radeloos heeft Yara al een poosje een oogje op Paco, die bij haar op school zit en als DJ plaatjes draait op feesten. Maar Paco heeft wat met Floor en ziet haar niet staan. Komt het misschien omdat ze te dik is? Yara's moeder wil dat haar dochter fotomodel wordt maar eigenlijk wil Yara naar de kunstacademie. Ze besluit af te vallen door minder te gaan eten. Zo slaat ze twee vliegen in één klap:

Small-scale farmer Pasi shoots four policemen who have come to arrest him for raged drunkenness. Rest of the movie is a long flashback examining the events that finally leads to the tragic shooting. As time goes by, Pasi sinks gradually deeper and deeper into the poverty, gets into trouble with both police and tax officials while family arguments grow more and more serious. Based on a true story.

Na virada do século, Duke e Chester, dois artistas de vaudeville, vão ao Alasca para fazer fortuna. No navio para Skagway, eles encontram um mapa para uma mina de ouro secreta, roubada por McGurk e Sperry, um casal de bandidos. Eles se disfarçam de McGurk e Sperry para sair do navio. Enquanto isso, Sal Van Hoyden está no Alasca para tentar recuperar o mapa; tinha sido roubado do pai dela. Ela se apaixona por Ace Larson, que quer roubar a mina de ouro para si. Duke e Chester, McGurk e Sperry, Ace e seus capangas, e Sal, se perseguem por todo o campo, tentando obter o mapa. (e Livre - Estimado Livre)

A doctor must remove a parasite infestation from within a patient's breast.

This is in every respect a stunning picture, though somewhat bohemian in subject. It depicts in six scenes, six lively hours at New York City's famous Tenderloin dance hall, "The Haymarket." In every particular the much talked-of resort is reproduced exactly. The interior and exterior are both shown as they are. The first scene shows the opening of the hall, with the sidewalk crowds of girls and men. The second is the dance, showing the various forms of the waltz in vogue in New York. Then comes a fight in the wine room, then the eviction of the riotous young men, and finally a boisterous can-can and a raid by the police.

The camera was situated on an ocean beach. The only action visible is a large number of children bathing in the surf. For the full extent of the film, the group can be seen splashing about in the surf.

A large number of men wearing bathing suits march quick step by the camera. As the men continue, the seashore can be seen. Behind the marching men is an amusement pier out over the ocean. The film ends as the men can be seen in the distance marching into the water.

This film was photographed in the winter, much of it during an actual snowstorm, and snow can be seen on the ground in all scenes. The subject is a group of men, clothed only in swimming trunks, who demonstrate their physical prowess by doing calisthenics, playing handball, and swimming during freezing weather.

The first scenes were photographed from a boat that was either rowed or sculled along the waterway of the st. Louis exposition. The film shows the principal exhibit buildings lining the mall, as well as statues and bridges. The next camera position was stationary. The scenes show decorated rowboats and motorboats laden with costumed people as though part of a parade. The lead boat in the parade contains a single occupant in military uniform. See also: parade of floats.

A man in a plaid suit with a lantern hung around his neck comes out on stage, followed by another man who also carries a lantern. They turn as if to view the work and then turn toward the camera. Another person in frock coat and stovepipe hat appears on stage, carrying a sign that reads, "fusion, on to brooklyn." the three men march around in an attempt to convey a political idea, for in addition to the placard, they are carrying bags with dollar signs on them.

An exhibition of water throwing by the Ocean Company of Green, N.Y., using an old-fashioned hand power engine.

This picture is very novel and interesting. It gives the complete trip from the station at the New York City end of the bridge to the station at the Brooklyn end, as seen from the front end of a third rail car running at high speed. The entire trip consumes three minutes of time, during which abundant opportunity is given to observe all the structural wonders of the bridge, and far distant river panorama below.