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Downloaded from
YTS.MX

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[faint crackling]

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Official YIFY movies site:
YTS.MX

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[ebbing tone]

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[shimmering tone]

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[mysterious folk music]

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[rattling]

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[liquid bubbling]

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♪

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[birds chirping]

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[squeaking]

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♪

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[film reel whirring]

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♪

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[liquid splashing]

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[eerie music]

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[overlapping
chatter]

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[interviewer] When you think
of Muybridge, is there a--

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What single word
comes to mind for you,

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when you think
of Edward Muybridge?

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Tricky. Um...

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and certainly daring.

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I almost said "crazy."

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Eccentric.

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Duplicitous.

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He's temperamental,
volatile.

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I don't
have to like him.

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I like his work,
I like what he did.

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Ego.

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He wanted
to be seen as...

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I don't know
if it was the God or the Devil.

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Probably both.

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My one word
for Muybridge is "survivor."

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Mischievous,

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and out of
that mischievousness,

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we have
this wonderful work.

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He's sharp.

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Uh, talented.

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Just a wonderful cocktail.

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[portentous music]

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[Byron]
Edward Muybridge is best known

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for his breakthrough
motion study photographs.

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Early in his career,

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Muybridge was largely
a landscape photographer,

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and he was traveling
throughout the West--

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California, Utah, Alaska--

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making photographs
that he was hoping to sell

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to a buying public.

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He's photographing
destinations, like Yosemite,

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that have a sense
of drama, a mystique,

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perhaps a degree
of exoticism.

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His vision was singular.

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[mysterious folk music]

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♪

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[Mark] When you stand

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in the same place
a photographer stood,

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and you look at
what they saw,

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you see with your body,

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not just your eyes.

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You feel the place.

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You see not only
what's in the picture,

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but what's on the side of
the picture, what's behind it.

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And then we can say, "Well,
look what Muybridge did."

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[Byron] Re-photography
of Muybridge...

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gives us some insight
into how he saw the world

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and how he recreated
the world

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within the borders
of his photographs.

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The place is never
like the photograph.

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It never matches.

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I mean, sure,
you can make details,

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but the experience is not the
same thing as the photograph.

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I mean, landscape photography
is often thought

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of as pictures
of rocks and trees,

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and they may be
the subject of the pictures

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in a place
like Yosemite,

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but there is no such thing
as a neutral photograph.

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You're making a picture.

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It's made from the position
of the-- the maker,

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and their opinion,

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their thinking about
how to make the picture,

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pushes their own vision

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and decides what to see,
and how to see it.

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♪

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Pictures, in the end,
are stories, you know?

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So, who was Muybridge?

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He was a character
in his own story.

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[Byron]
He's a mysterious figure.

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He was always engaged
in some sort of decision

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about what to reveal
and what to hide.

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-[Mark] Ooh, yeah.
-[Byron] Yeah, this is it.

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[Mark] This is it.

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-That's great.
-There's a rock right there.

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-There, there.
-[Mark] Here we go.

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Oh, no, no.
Too far.

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That covers it up.
I got to go this way.

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There, there.
There we go. See that?

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Does that look
about right?

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[Byron] Let me look
at the, uh, one you had.

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[clicking]

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[playful music]

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[Mark]
One of the things

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that makes Lake Tenaya
a special place for us

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is that there were several
different photographers

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who made pictures here.

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These photographers
didn't know

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where the other one made
their picture necessarily,

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but they chose
vantage points

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that were within
20 feet of one another.

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[Byron]
The Weston and Adams pictures

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really depict
a very similar scene,

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looking out
across Tenaya Lake.

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And in fact,
their two photographs

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overlap a little bit

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with the way
that they frame the scene.

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They're these highly graphic,

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incredibly simplified
representations of a place.

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Big granite faces,
and deep, dark shadows.

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Very simplified and bold,

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and kind of
modern-looking pictures.

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Muybridge photographs
are not that.

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[Mark] I think
Muybridge was telling

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a more
complicated story.

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He's looking
at stuff that--

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that's dead.

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There's a lot of debris.

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[Byron] Foreground
spaces are often confusing.

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He uses details
like rocks and trees

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in ways
that feel chaotic and jumbled.

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It's often hard to tell where
you are standing, as a viewer.

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He uses space and planes

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in ways
that are highly disorienting.

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[eerie music]

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Lovely.

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Uh, my wife and I are
fortunate to have found this.

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It's got
a little fading,

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I think maybe a little
watermark, and some foxing,

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but-- but o-- overall,
it's in pretty good condition.

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And this is-- is--
it was taken in Yosemite.

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And of course,
there is Mr. Muybridge.

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Now,
what you see here...

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is...

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there's a determination

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and a real sort of...

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f-- fixity of purpose
in the eyes.

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Even though
the body language is relaxed,

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the eyes
are intense and focused.

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I mean, for an actor,

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if I were to play Muybridge,
or an actor were to play him,

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um...

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I mean,
that's-- that's gold dust.

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♪

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[Marta]
Muybridge was born in 1830,

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in a small town
called Kingston-upon-Thames.

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He's given the name
Edward James Muggeridge.

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Time was measured by the
rising and setting of the sun.

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There was no
electrical illumination.

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Transportation
is by horse and carriage,

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or by barge and boat.

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And he's still
in a-- a society

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in which ancient
traditions are followed,

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traditions of--
of family, of class.

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[Philip] Muybridge's
family ran the barges

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between London and Kingston
that would bring coal and corn

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between the outlying
areas and the city.

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Muybridge,
he certainly was

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an incredibly creative
individual.

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Right from the start,

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even as a young person,

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he sought out
a life for himself

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that was separate
from the generations

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of his family
that he was born into.

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[Marta] He leaves England
when he's 20 years old,

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for a completely
unknown country.

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[Philip] In 1855,

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Edward Muybridge
arrives in San Francisco.

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He's a-- a bookseller,
a publisher,

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an inventor,

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a banker, an investor...

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a photographer.

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Muybridge's photography
takes place

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in a period
of just 20 years of his life.

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He goes
from learning photography

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to becoming one
of the-- the best known

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and most important
photographers in the world.

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[Marta] But as a photographer,
he calls himself "Helios."

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Helios was the name

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of the Greek God of the sun.

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So, he certainly took on
this idea of the photographer

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as a mythic being.

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[Marta] He'll go anywhere,
he'll photograph anything,

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and it'll be perfect.

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Helios
and his flying studio.

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[Philip] One of the most
popular forms of photography

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in the 1860s
were stereo views,

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a pair of photographs

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taken through a special
camera with two lenses,

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just slightly different.

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And then when they're viewed
through a special viewer,

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your brain puts them together
as a three-dimensional image.

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[delicate, haunting music]

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These are the pictures
that different photographers

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would sell
in their galleries

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to the middle class people,
you know,

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who could afford to buy them

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for a dollar a view.

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And, you know, Muybridge
made an extensive catalog

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of stereo views
at the time.

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[playful music]

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[Gary] Of course,
in those days

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you would have to hire
an expedition team.

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You might want a guide
who knows the area.

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You've got these massive
plates that-- that weigh a ton,

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and many of them,
and they're in crates,

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and you've got
the tripod,

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which is very,
sort of, cumbersome.

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And you've got
these big cameras.

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And really
dangerous chemicals.

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It was all glass, so everything
was in glass bottles.

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You got to keep these things
really-- spotlessly clean.

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And you've then got
to traverse this terrain

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with all of this equipment
to get to where you're going.

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The story goes

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that he would do things
and go to places

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where the guides
and the team would not go.

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He would go
out on a ledge,

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and really not care
for his own safety,

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to get the picture.

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The picture was all.
The picture was everything.

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[footsteps shuffling]

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[eerie tone]

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Muybridge is right about here,
where my hands are,

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and he made
a stereo view

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from right about
this position, two lenses.

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But it's interesting, because
he could have had his assistant

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sit in the view,

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but he had the guy
he was working with

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take a picture of him,
so he's actually choosing

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to put himself
in the picture for some reason.

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Who knows? Maybe his assistant
refused to go out on the point.

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Maybe!
I don't blame him.

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-I'm not going out there.
-Would you go out there?

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00:14:00,535 --> 00:14:01,362
-[overlapping chatter]
-I'm not gonna go out there.

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00:14:01,405 --> 00:14:02,667
-Yeah.
-Yeah.

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00:14:02,711 --> 00:14:09,065
♪

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[Byron] Glass plate film
was incredibly slow,

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00:14:12,460 --> 00:14:16,159
so an ordinary exposure
could easily take a minute,

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00:14:16,203 --> 00:14:18,161
or up to two minutes,
depending upon

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what the lighting
conditions were.

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00:14:20,033 --> 00:14:23,819
So, if something like a river
were to be photographed,

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00:14:23,863 --> 00:14:26,778
it might end up as this
sort of blur in the scene.

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00:14:32,567 --> 00:14:36,353
[Gary] A lot of those
waterfalls are like white foam.

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They become creamy and...

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00:14:39,661 --> 00:14:41,228
they're like lace,

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00:14:41,271 --> 00:14:44,100
or chiffon, or something.

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00:14:44,144 --> 00:14:44,971
There's some...

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something very soft
and feminine

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00:14:50,324 --> 00:14:51,586
about them.

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00:14:51,629 --> 00:14:54,589
[birds chirping]

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00:14:56,634 --> 00:14:58,419
Photographers
might put a figure

260
00:14:58,462 --> 00:15:00,377
in a landscape for scale.

261
00:15:02,423 --> 00:15:03,903
Muybridge shows scale,

262
00:15:05,078 --> 00:15:06,949
but then he just gives
it an artistic twist.

263
00:15:08,472 --> 00:15:10,344
At times, it's whimsy.

264
00:15:10,387 --> 00:15:14,957
♪

265
00:15:15,001 --> 00:15:16,089
He'll put someone

266
00:15:16,872 --> 00:15:19,614
way down
in a third of the frame

267
00:15:19,657 --> 00:15:20,702
with their back to you.

268
00:15:23,096 --> 00:15:24,836
They always seemed
to be looking out.

269
00:15:24,880 --> 00:15:31,191
♪

270
00:15:42,071 --> 00:15:48,121
♪

271
00:15:54,736 --> 00:15:57,043
When Muybridge
arrives in San Francisco,

272
00:15:57,086 --> 00:16:00,916
he arrives in this world
that's being modernized,

273
00:16:00,960 --> 00:16:03,484
with the railroad,

274
00:16:04,528 --> 00:16:05,965
with the steam engine,

275
00:16:06,574 --> 00:16:07,836
with the telegraph.

276
00:16:10,534 --> 00:16:12,536
[Richard] Everything is
changing, where a way of life,

277
00:16:12,580 --> 00:16:14,886
which had gone on for
quite literally millennia,

278
00:16:16,062 --> 00:16:17,106
is now over,

279
00:16:17,715 --> 00:16:19,500
and Muybridge
is a part of it.

280
00:16:19,543 --> 00:16:21,937
Photography is used to sell
bonds for the railroads,

281
00:16:21,981 --> 00:16:24,635
and it's used to bring
people west as tourists,

282
00:16:24,679 --> 00:16:26,855
and to bring them
west as settlers.

283
00:16:26,898 --> 00:16:28,726
Certainly, Muybridge
is selling the west.

284
00:16:28,770 --> 00:16:32,774
[dreamy, haunting music]

285
00:16:38,084 --> 00:16:41,739
[Philip] He makes images
that are a great representation

286
00:16:41,783 --> 00:16:44,090
of the destiny
of the nation.

287
00:16:45,091 --> 00:16:47,832
You know,
reach the Pacific Shore

288
00:16:47,876 --> 00:16:49,747
with the beacons
of the lighthouses

289
00:16:49,791 --> 00:16:51,097
marking that territory.

290
00:16:53,577 --> 00:16:58,800
♪

291
00:17:02,108 --> 00:17:03,587
Muybridge is working

292
00:17:03,631 --> 00:17:06,547
for corporate
and government interests.

293
00:17:08,201 --> 00:17:10,725
He's certainly making pictures
that are propaganda pictures.

294
00:17:12,770 --> 00:17:13,945
But he's also
playing with it,

295
00:17:13,989 --> 00:17:15,686
and he's using
those opportunities

296
00:17:15,730 --> 00:17:17,297
to make pictures
for himself.

297
00:17:20,169 --> 00:17:22,954
[mischievous flute music]

298
00:17:23,999 --> 00:17:26,523
Independence
was paramount for him.

299
00:17:27,133 --> 00:17:28,134
It's just who he was.

300
00:17:32,355 --> 00:17:34,879
Muybridge is commissioned
to help

301
00:17:34,923 --> 00:17:36,359
the United States Army,

302
00:17:37,317 --> 00:17:38,535
the War Department,

303
00:17:38,579 --> 00:17:42,191
to photograph a war
going on

304
00:17:42,235 --> 00:17:44,498
between the Modoc Indians

305
00:17:44,541 --> 00:17:46,500
in Northern California,

306
00:17:46,543 --> 00:17:48,154
and the US military.

307
00:17:49,807 --> 00:17:52,941
Basically, Muybridge
is hired to help the army

308
00:17:52,984 --> 00:17:54,725
to understand the territory

309
00:17:54,769 --> 00:17:56,336
in which the fighting
is going on.

310
00:18:01,080 --> 00:18:04,344
And at the same time,
there's interest in the media.

311
00:18:06,085 --> 00:18:09,740
Muybridge's photographs
are used in Harper's Weekly,

312
00:18:09,784 --> 00:18:12,526
which was a very
important weekly magazine.

313
00:18:12,569 --> 00:18:17,183
One of the images
that Muybridge makes is called

314
00:18:17,226 --> 00:18:19,446
Modoc Brave
on the Warpath.

315
00:18:26,322 --> 00:18:28,803
I think that Muybridge's
photographs of Native people

316
00:18:28,846 --> 00:18:31,197
are his most
documentary images,

317
00:18:31,240 --> 00:18:35,114
showing, kind of,
everyday side of life,

318
00:18:35,157 --> 00:18:38,160
uh, among people who are native
to the American West.

319
00:18:39,640 --> 00:18:42,643
He's not trying
to make photographs that

320
00:18:43,644 --> 00:18:45,820
disparage the people
he's photographing.

321
00:18:45,863 --> 00:18:48,170
I think he's trying
to survey and document

322
00:18:48,214 --> 00:18:51,042
and convey
a sense of respect

323
00:18:51,086 --> 00:18:52,957
to communities
outside of his own,

324
00:18:54,307 --> 00:18:55,786
you know, in ways
that other photographers

325
00:18:55,830 --> 00:18:57,223
weren't really
doing at the time.

326
00:19:03,577 --> 00:19:05,883
[snow shuffling]

327
00:19:08,495 --> 00:19:12,412
[Mark] In 1868,
Muybridge was invited

328
00:19:12,455 --> 00:19:16,111
to accompany a military
expedition to Alaska,

329
00:19:16,155 --> 00:19:18,983
and it's just after
America has purchased

330
00:19:19,027 --> 00:19:20,202
the territory from Russia.

331
00:19:21,682 --> 00:19:23,118
Muybridge's job was really

332
00:19:23,162 --> 00:19:26,948
to photograph military
forts and harbors.

333
00:19:27,775 --> 00:19:30,952
[haunting percussive music]

334
00:19:32,562 --> 00:19:35,130
But he also
photographed Native people.

335
00:19:36,262 --> 00:19:39,134
[drums pounding]

336
00:19:39,178 --> 00:19:41,658
Muybridge made, really,
the very first photographs

337
00:19:41,702 --> 00:19:43,660
of Native people
in southeast Alaska.

338
00:19:43,704 --> 00:19:48,926
♪

339
00:19:56,238 --> 00:20:02,549
♪

340
00:20:14,909 --> 00:20:18,042
The Tlingit people, if you look
at the word "Tlingit..."

341
00:20:19,479 --> 00:20:21,916
It's-- it's a blowing sound--
"Thlingit. Thlingit."

342
00:20:23,004 --> 00:20:24,919
It-- they're
the Tidelands people.

343
00:20:28,531 --> 00:20:31,534
Russia claims Alaska,
through a discovery, right?

344
00:20:31,578 --> 00:20:33,580
They came here and discovered
it, even though we were here.

345
00:20:34,624 --> 00:20:36,539
We had our ownership rules,

346
00:20:36,583 --> 00:20:37,975
we had our established
villages.

347
00:20:40,587 --> 00:20:44,591
And then in 1867, they
sold it to the United States.

348
00:20:46,027 --> 00:20:47,115
And there's a thought
that, you know,

349
00:20:47,158 --> 00:20:48,725
because they were--

350
00:20:48,769 --> 00:20:50,118
we were
purchased by the United States,

351
00:20:50,161 --> 00:20:52,599
that we were
going to be cultured, right?

352
00:20:52,642 --> 00:20:53,730
Well, we already
had a culture.

353
00:20:57,168 --> 00:20:59,083
We expected some
reciprocity for...

354
00:20:59,910 --> 00:21:02,173
them moving on our land.

355
00:21:02,217 --> 00:21:04,393
Instead, we were moved
off the land.

356
00:21:04,437 --> 00:21:06,221
We were excluded
from boating,

357
00:21:06,265 --> 00:21:09,268
we were excluded
from having civil rights.

358
00:21:11,139 --> 00:21:11,966
We lost our soul.

359
00:21:14,098 --> 00:21:16,797
The soul that we are,
the soul of our identity.

360
00:21:16,840 --> 00:21:18,842
We lost.
We lost a lot.

361
00:21:22,063 --> 00:21:23,891
We've been here
since time immemorial.

362
00:21:25,762 --> 00:21:28,330
And now we're down
to maybe two million families

363
00:21:28,374 --> 00:21:29,505
that are left
in an area

364
00:21:29,549 --> 00:21:31,681
that can trace their history

365
00:21:31,725 --> 00:21:33,204
back to Tongass Island.

366
00:21:37,774 --> 00:21:42,083
[somber music]

367
00:21:47,610 --> 00:21:49,482
There's a Kootéeyaa
over here, a totem pole.

368
00:21:50,265 --> 00:21:51,092
The base of one.

369
00:21:53,050 --> 00:21:54,138
It fell down...

370
00:21:55,618 --> 00:21:56,837
falling back
into the forest.

371
00:22:00,449 --> 00:22:01,320
Yeah.

372
00:22:06,890 --> 00:22:09,719
[singing in Tlingit]

373
00:22:16,073 --> 00:22:19,120
[singing continues]

374
00:22:25,953 --> 00:22:27,824
Okay, so, here, I want
to hand this to you

375
00:22:28,956 --> 00:22:30,871
and have you look at it.

376
00:22:31,741 --> 00:22:34,396
Only pick it up and sort of--
that's right, just like that.

377
00:22:36,485 --> 00:22:39,009
And my grandmother
was on this island after this.

378
00:22:39,053 --> 00:22:40,663
She was born in 1876.

379
00:22:41,316 --> 00:22:43,405
And I think
one of these ladies

380
00:22:43,449 --> 00:22:44,928
could be
my grandmother's mother.

381
00:22:46,016 --> 00:22:47,148
The young ones.

382
00:22:48,279 --> 00:22:50,151
And similar loo-- looks--

383
00:22:51,326 --> 00:22:53,154
features like
my grandmother right here.

384
00:22:54,851 --> 00:22:55,765
It gives me a longing.

385
00:22:56,462 --> 00:22:58,202
At this time
they were a unit,

386
00:22:58,246 --> 00:22:59,421
they were families.

387
00:22:59,465 --> 00:23:01,336
They had
a cultural life.

388
00:23:01,380 --> 00:23:03,730
[soft Tlingit song]

389
00:23:06,689 --> 00:23:08,082
Well, they probably think,

390
00:23:08,125 --> 00:23:09,605
"What-- what's
that strange box?"

391
00:23:09,649 --> 00:23:12,216
So, when Muybridge sent
the picture to them...

392
00:23:13,479 --> 00:23:15,263
it was a gift to them.

393
00:23:15,306 --> 00:23:17,744
It was a return of what
he-- he promised them

394
00:23:17,787 --> 00:23:19,006
from the box.

395
00:23:19,049 --> 00:23:20,442
They probably
didn't know it,

396
00:23:20,486 --> 00:23:21,748
but then, probably,
when they saw it,

397
00:23:21,791 --> 00:23:23,489
they-- made them
real excited.

398
00:23:24,098 --> 00:23:26,056
That you say say,

399
00:23:26,100 --> 00:23:28,798
"Here I am inside this picture,
and here's my family."

400
00:23:29,538 --> 00:23:34,935
♪

401
00:23:37,372 --> 00:23:39,505
He gave us [speaking Tlingit],
our "precious thing."

402
00:23:39,548 --> 00:23:40,854
This is
the precious thing now.

403
00:23:41,463 --> 00:23:42,508
That's what we say, when
we say, [speaking Tlingit].

404
00:23:43,726 --> 00:23:47,382
This is something that
belonged to me and my soul.

405
00:23:49,210 --> 00:23:51,386
It's a renewal
when I look at it

406
00:23:51,430 --> 00:23:54,302
to-- and feel better
when I walk out of here

407
00:23:55,869 --> 00:23:57,436
and continue on my life.

408
00:23:58,698 --> 00:24:00,482
And once in a while,
when I don't feel so good,

409
00:24:00,526 --> 00:24:02,353
I'll look at this picture.

410
00:24:02,397 --> 00:24:04,355
That's kind of like
a revitalization every time.

411
00:24:05,966 --> 00:24:06,793
That's what I feel.

412
00:24:11,711 --> 00:24:16,063
[solemn piano music]

413
00:24:25,202 --> 00:24:31,513
♪

414
00:24:33,167 --> 00:24:36,170
[Marta] In 1871,
Muybridge meets

415
00:24:36,213 --> 00:24:40,435
and marries
Flora Shallcross Stone.

416
00:24:45,135 --> 00:24:47,050
She's much younger
than he is.

417
00:24:47,703 --> 00:24:50,489
She's in her early twenties,
and he's in his early forties.

418
00:24:52,578 --> 00:24:54,797
This is a description
of Flora

419
00:24:54,841 --> 00:24:57,408
by a Postjournalist who would
actually have known her.

420
00:24:58,671 --> 00:25:00,977
"Petite,
but voluptuous-looking,

421
00:25:01,021 --> 00:25:02,936
with a sweet, winning face

422
00:25:02,979 --> 00:25:04,851
and large eyes
of tender blue,

423
00:25:04,894 --> 00:25:07,593
and with a wealth
of dark brown hair.

424
00:25:07,636 --> 00:25:09,638
She was just the woman
to make an impression

425
00:25:09,682 --> 00:25:13,033
upon a cynic like Muybridge,
who was then,

426
00:25:13,076 --> 00:25:15,818
after a life
of toil and privation,

427
00:25:15,862 --> 00:25:17,472
beginning to achieve

428
00:25:17,516 --> 00:25:19,648
the enviable reputation
he enjoys now."

429
00:25:20,562 --> 00:25:24,261
He's traveling,
he's expanding his career.

430
00:25:24,305 --> 00:25:27,221
He's always on the move,
and he leaves her at home.

431
00:25:28,178 --> 00:25:29,484
That spells trouble.

432
00:25:29,528 --> 00:25:32,269
[ominous chord]

433
00:25:35,882 --> 00:25:37,623
In a way,
you have the mistress.

434
00:25:39,189 --> 00:25:41,496
The siren's call, the art.

435
00:25:43,280 --> 00:25:44,978
You have to be
obsessed with it,

436
00:25:45,021 --> 00:25:45,892
you can't dabble.

437
00:25:48,198 --> 00:25:49,983
That-- that's the thing,

438
00:25:50,026 --> 00:25:53,247
if-- and-- and it's--
a-- and it's very selfish.

439
00:25:54,640 --> 00:26:00,254
♪

440
00:26:00,297 --> 00:26:02,386
[Marta] She gets
taken out to the theater a lot.

441
00:26:02,430 --> 00:26:04,127
She loves the theater.

442
00:26:04,171 --> 00:26:08,349
And one of the men
who take her to the theater

443
00:26:08,392 --> 00:26:10,264
is a man
called Harry Larkins.

444
00:26:10,307 --> 00:26:14,050
I am related
to Harry Larkins.

445
00:26:14,094 --> 00:26:16,487
He was my
great-great-great-uncle.

446
00:26:16,531 --> 00:26:20,796
Muybridge was born
into a family of, um,

447
00:26:22,058 --> 00:26:25,496
coal dealers and corn salesmen
who ran barges on the Thames.

448
00:26:26,628 --> 00:26:30,501
Harry's family, uh, owned
these great ships,

449
00:26:30,545 --> 00:26:32,547
and were captains
of these ships,

450
00:26:32,591 --> 00:26:36,203
and they were running, uh,
indigo, opium,

451
00:26:36,986 --> 00:26:40,468
uh, porcelain,
and tea around the world.

452
00:26:41,904 --> 00:26:45,473
When the two first met,
according to the reports

453
00:26:45,516 --> 00:26:47,431
in the press
written by Harry's friends,

454
00:26:48,128 --> 00:26:50,696
Muybridge was deeply
enamored of Harry.

455
00:26:51,610 --> 00:26:55,222
Um, maybe slightly
glamorized by him,

456
00:26:55,265 --> 00:26:57,311
before it all fell apart.

457
00:26:57,354 --> 00:26:59,748
I think
he was somewhat naive

458
00:26:59,792 --> 00:27:02,098
to think that he could
marry a pretty young girl

459
00:27:02,142 --> 00:27:03,883
who's 20 years
his junior

460
00:27:04,971 --> 00:27:08,061
and disappear
for six and seven, eight months

461
00:27:08,104 --> 00:27:09,758
up a mountain,
taking pictures.

462
00:27:12,195 --> 00:27:13,370
And she's gonna to be

463
00:27:14,328 --> 00:27:15,416
waiting for him.

464
00:27:17,548 --> 00:27:20,682
[Rebecca] In the 1950s,
a man called Brandenburg,

465
00:27:20,726 --> 00:27:24,120
found a photograph album
in a secondhand shop.

466
00:27:24,860 --> 00:27:27,907
It was identified early
on as belonging to Flora.

467
00:27:30,039 --> 00:27:32,738
Fascinatingly,
two of the figures in there

468
00:27:32,781 --> 00:27:36,872
were theorists
about women's equality

469
00:27:36,916 --> 00:27:38,874
and women's
sexual liberation.

470
00:27:38,918 --> 00:27:40,963
One, Victoria Woodhull,

471
00:27:41,007 --> 00:27:44,184
who was the first woman to run
for United States president,

472
00:27:45,272 --> 00:27:48,014
and the other, a man
called Orson Squire Fowler.

473
00:27:50,843 --> 00:27:53,715
Fowler argued passionately

474
00:27:53,759 --> 00:27:57,458
that women should be
as fulfilled sexually as men.

475
00:27:57,501 --> 00:27:59,416
[interviewer] And was
this unusual for that era?

476
00:27:59,460 --> 00:28:01,201
Absolutely, yes.

477
00:28:02,202 --> 00:28:05,161
[both chuckling]

478
00:28:05,205 --> 00:28:06,772
Not just thatera.

479
00:28:06,815 --> 00:28:08,425
[laughing]

480
00:28:10,819 --> 00:28:13,648
[Richard]
And Flora gets pregnant.

481
00:28:13,692 --> 00:28:18,174
Muybridge, well, he's off
like he usually is, you know,

482
00:28:18,218 --> 00:28:20,699
making pictures,
during the whole pregnancy.

483
00:28:23,702 --> 00:28:26,966
[Marta]
Flora gives birth to their son.

484
00:28:27,009 --> 00:28:29,577
They begin a family

485
00:28:29,620 --> 00:28:33,973
and Muybridge makes
a very unfortunate discovery.

486
00:28:34,016 --> 00:28:38,412
Muybridge sees
a picture of, uh, the child,

487
00:28:38,455 --> 00:28:41,807
and on the back
is written, "little Harry."

488
00:28:42,546 --> 00:28:45,027
This little
inscription that says, um,

489
00:28:45,680 --> 00:28:47,464
"Oh,
my lovely little Harry."

490
00:28:48,901 --> 00:28:51,207
Major Harry--
Harry Larkins.

491
00:28:51,251 --> 00:28:52,426
And he thinks...

492
00:28:53,644 --> 00:28:56,082
"I'm going to--
I'm gonna-- I'm--

493
00:28:56,125 --> 00:28:57,039
I'm going to kill him."

494
00:28:57,083 --> 00:29:00,826
[tense music]

495
00:29:00,869 --> 00:29:03,829
He is in a whirlwind

496
00:29:03,872 --> 00:29:05,874
of-- of-- of...

497
00:29:08,050 --> 00:29:09,922
I mean, just rage.

498
00:29:12,838 --> 00:29:15,318
[Rebecca] Muybridge went
to see William Roelofson,

499
00:29:15,362 --> 00:29:18,278
who was by this point, selling
his photographs for him.

500
00:29:19,105 --> 00:29:21,324
Had a complete,
sort of, nervous breakdown.

501
00:29:22,021 --> 00:29:23,631
Roelofson, uh, said

502
00:29:23,674 --> 00:29:26,677
that he desperately
tried to stop Muybridge,

503
00:29:26,721 --> 00:29:29,115
but Muybridge
with the strength of ten men

504
00:29:29,158 --> 00:29:30,638
burst away from him.

505
00:29:30,681 --> 00:29:33,119
Leapt from the dock
onto the boat.

506
00:29:33,162 --> 00:29:36,296
Caught the train to Callisto,
hurried through the night,

507
00:29:36,339 --> 00:29:39,473
reached the Yellowjacket
mine at about 11 o'clock.

508
00:29:40,387 --> 00:29:41,692
[Gary]
Larkins comes out,

509
00:29:42,955 --> 00:29:44,043
looks into the sort of...

510
00:29:45,871 --> 00:29:48,003
velvet black,

511
00:29:48,612 --> 00:29:50,745
and says, you know,
"Hello? Who is it?"

512
00:29:52,094 --> 00:29:53,356
[Marta]
And Muybridge says,

513
00:29:53,400 --> 00:29:55,358
"I have a message
from my wife..."

514
00:29:57,143 --> 00:29:57,970
and shoots him.

515
00:29:59,710 --> 00:30:00,842
[interviewer] One time?

516
00:30:00,886 --> 00:30:01,930
Dead.

517
00:30:01,974 --> 00:30:02,844
[dramatic chord]

518
00:30:04,715 --> 00:30:05,804
[Gary] Muybridge...

519
00:30:07,327 --> 00:30:08,154
is caught red-handed.

520
00:30:10,634 --> 00:30:15,161
This article contains
Muybridge's direct account,

521
00:30:16,031 --> 00:30:18,338
in theory, of what happened
when he shot Harry,

522
00:30:19,339 --> 00:30:21,515
uh, under the subheading,
"The Fatal Meeting."

523
00:30:22,603 --> 00:30:24,561
"The only thing
I am sorry for

524
00:30:24,605 --> 00:30:26,389
in connection
with the affair

525
00:30:26,433 --> 00:30:28,087
is that
he died so quickly.

526
00:30:28,696 --> 00:30:30,132
I would have wished

527
00:30:30,176 --> 00:30:31,917
that he could
have lived long enough

528
00:30:31,960 --> 00:30:34,310
at least to acknowledge
the wrong he had done me,

529
00:30:35,224 --> 00:30:37,052
that his punishment
was deserved,

530
00:30:37,661 --> 00:30:40,229
and that my act
was a justifiable defense

531
00:30:40,273 --> 00:30:41,970
of my marital rights."

532
00:30:43,319 --> 00:30:44,581
Extraordinary.

533
00:30:47,019 --> 00:30:49,935
Flora not only
doesn't take Muybridge's side,

534
00:30:50,631 --> 00:30:51,980
she actually
tries to help

535
00:30:52,024 --> 00:30:54,722
the district attorney
prosecute Muybridge.

536
00:30:55,331 --> 00:30:59,074
She also institutes divorce
proceedings against Muybridge.

537
00:30:59,118 --> 00:31:03,339
[eerie music]

538
00:31:03,383 --> 00:31:06,821
[Gary] And at the trial,
Muybridge's defense team

539
00:31:06,865 --> 00:31:09,302
dredged up something
from earlier years

540
00:31:09,345 --> 00:31:11,217
that they hoped
might get him off.

541
00:31:11,870 --> 00:31:13,915
He had been
in a stagecoach accident

542
00:31:13,959 --> 00:31:15,525
that had almost killed him,

543
00:31:15,569 --> 00:31:17,266
and left him,
perhaps, brain damaged.

544
00:31:20,269 --> 00:31:23,185
This is how Muybridge
recalled the accident

545
00:31:23,229 --> 00:31:24,186
from the witness stand:

546
00:31:26,623 --> 00:31:28,234
"We got
on board the stage,

547
00:31:28,277 --> 00:31:31,802
which was drawn
by six wild Mustang horses.

548
00:31:33,065 --> 00:31:36,677
That is the last
I recollect of that nine days.

549
00:31:37,808 --> 00:31:40,986
After that,
I found myself lying in bed.

550
00:31:42,030 --> 00:31:44,424
There was a small wound
on the top of my head.

551
00:31:45,425 --> 00:31:46,948
When I recovered,

552
00:31:46,992 --> 00:31:50,430
each eye formed
an individual impression,

553
00:31:50,473 --> 00:31:52,823
so that looking at you,
for instance,

554
00:31:52,867 --> 00:31:56,436
I could see another man
sitting by your side.

555
00:31:57,480 --> 00:32:00,919
I had no taste,
nor smell, and was very deaf."

556
00:32:02,703 --> 00:32:04,183
We don't really
have much of an idea

557
00:32:04,226 --> 00:32:05,924
of what he was like
before the accident.

558
00:32:07,708 --> 00:32:10,058
It may have
triggered something.

559
00:32:10,102 --> 00:32:12,060
It may have changed
something in his personality.

560
00:32:14,497 --> 00:32:15,846
[Marta] Afterward,

561
00:32:15,890 --> 00:32:18,545
we hear about,
he's eccentric,

562
00:32:18,588 --> 00:32:20,590
he's prone to rage,

563
00:32:20,634 --> 00:32:24,420
he's uninhibited,
he wears strange clothes,

564
00:32:24,464 --> 00:32:26,335
he's got
a hole in his hat,

565
00:32:27,032 --> 00:32:28,424
he doesn't shave.

566
00:32:29,469 --> 00:32:31,558
He's always
putting himself out

567
00:32:31,601 --> 00:32:34,517
on the very
edges of rocks,

568
00:32:34,561 --> 00:32:36,215
looking into an abyss.

569
00:32:36,258 --> 00:32:39,522
There's the risk-taking
aspect of Muybridge

570
00:32:39,566 --> 00:32:43,657
that one could say
is a product of this injury.

571
00:32:47,052 --> 00:32:49,837
In the reliving of it
and the telling of the story,

572
00:32:50,664 --> 00:32:53,884
it was a way
in which he could,

573
00:32:54,842 --> 00:32:57,236
perhaps, persuade the jury

574
00:32:57,845 --> 00:32:58,672
and the judge

575
00:32:59,629 --> 00:33:00,674
that this...

576
00:33:01,849 --> 00:33:03,503
madness
that came upon him

577
00:33:04,156 --> 00:33:08,856
was-- was, in part,
connected to the head injury.

578
00:33:10,727 --> 00:33:13,992
They plead
temporary insanity.

579
00:33:15,036 --> 00:33:19,127
This is a picture
of Muybridge in Yosemite

580
00:33:19,171 --> 00:33:21,260
on Contemplation Rock.

581
00:33:22,783 --> 00:33:25,525
And he is
sitting untethered,

582
00:33:26,787 --> 00:33:29,485
with his feet
dangling over the edge.

583
00:33:29,529 --> 00:33:31,922
There's a 3,000 foot drop

584
00:33:32,662 --> 00:33:33,750
beneath him.

585
00:33:34,403 --> 00:33:37,754
And this was used
in evidence to prove

586
00:33:38,973 --> 00:33:42,542
that Muybridge
was indeed insane.

587
00:33:43,195 --> 00:33:46,372
Why the prosecution allowed
him to make that case,

588
00:33:46,415 --> 00:33:49,766
I'm not sure, but they
brought in the superintendent

589
00:33:49,810 --> 00:33:52,030
of a local in-- insane asylum

590
00:33:52,073 --> 00:33:55,598
who absolutely disagreed
with all evidence

591
00:33:55,642 --> 00:33:59,167
to suggest
that Muybridge was, uh, insane

592
00:33:59,211 --> 00:34:00,777
at the time
of the killing.

593
00:34:01,430 --> 00:34:02,779
The opposing counsel...

594
00:34:04,781 --> 00:34:07,741
argued that it was
cold-blooded murder,

595
00:34:08,394 --> 00:34:09,438
plain and simple,

596
00:34:10,352 --> 00:34:11,658
and that he
should hang for it.

597
00:34:14,530 --> 00:34:17,098
Muybridge,
and everyone at the trial...

598
00:34:19,361 --> 00:34:21,798
knew he-- he was guilty.

599
00:34:22,495 --> 00:34:26,934
Muybridge confessed his guilt.
He was proud of what he did.

600
00:34:26,977 --> 00:34:28,588
He has a very,
very good attorney

601
00:34:29,763 --> 00:34:32,200
by the name of,
uh, Pendergast.

602
00:34:33,854 --> 00:34:36,987
So, Pendergast kind of
has to really do a 180,

603
00:34:37,031 --> 00:34:39,207
think on his feet,
and he comes back.

604
00:34:39,251 --> 00:34:43,255
Now they're pleading,
really, crime of passion.

605
00:34:43,298 --> 00:34:46,780
This is from the closing
statement of the defense.

606
00:34:47,781 --> 00:34:49,652
"You, gentlemen of the jury,

607
00:34:49,696 --> 00:34:51,567
you who have wives
whom you love,

608
00:34:51,611 --> 00:34:53,134
daughters whom you cherish,

609
00:34:53,178 --> 00:34:54,788
and mothers whom you reverence,

610
00:34:54,831 --> 00:34:56,790
will not say insanity.

611
00:34:57,399 --> 00:35:00,750
I cannot ask you to send
this man back to a happy home.

612
00:35:00,794 --> 00:35:01,969
He hasn't any.

613
00:35:02,012 --> 00:35:03,797
The destroyer has been there

614
00:35:03,840 --> 00:35:05,233
and has written all over it

615
00:35:05,277 --> 00:35:08,149
from foundation
stone to roof tile.

616
00:35:08,193 --> 00:35:10,630
Desolation, desolation!"

617
00:35:11,761 --> 00:35:13,807
They obviously go
back to the jury room

618
00:35:13,850 --> 00:35:15,374
going, "Yeah, you know.

619
00:35:15,417 --> 00:35:17,115
Well, how would
you feel, Bill,

620
00:35:17,158 --> 00:35:19,595
if someone came in
and slept with your wife?"

621
00:35:19,639 --> 00:35:21,075
[wheezing laughter]

622
00:35:21,119 --> 00:35:23,556
I mean, whatever
this conversation was

623
00:35:23,599 --> 00:35:25,079
in the jury room,

624
00:35:25,732 --> 00:35:27,647
it didn't take
very long to deliberate.

625
00:35:27,690 --> 00:35:29,866
And they came back
and they said not guilty.

626
00:35:31,390 --> 00:35:32,826
[interview] And what's
Muybridge's reaction?

627
00:35:33,479 --> 00:35:36,046
Oh, he-- he collapses...

628
00:35:38,005 --> 00:35:42,966
and bursts
into uncontrollable tears.

629
00:35:43,010 --> 00:35:45,404
He's, like,
just stupefied by it.

630
00:35:45,447 --> 00:35:48,276
I mean,
he is-- he is just-- uh,

631
00:35:48,320 --> 00:35:51,714
he-- he becomes
like w-- water, you know?

632
00:35:52,672 --> 00:35:57,416
And so much-- [laughing]
so much so...

633
00:35:58,765 --> 00:36:00,941
that even Pendergast
and the people are telling him,

634
00:36:02,290 --> 00:36:04,423
"Really, you've got
to pull yourself together."

635
00:36:04,466 --> 00:36:06,903
He was wailing.

636
00:36:09,123 --> 00:36:10,690
People were leaving
the courthouse--

637
00:36:10,733 --> 00:36:12,692
the judge had
to actually leave

638
00:36:12,735 --> 00:36:15,085
because he said,
"Oh, for heaven's sake."

639
00:36:15,695 --> 00:36:18,132
My-- Ta-- take that man!

640
00:36:18,872 --> 00:36:21,657
He was going-- [whining]

641
00:36:21,701 --> 00:36:25,270
Muybridge... sort of
snapped out of it again

642
00:36:25,313 --> 00:36:28,316
after a certain time
and, uh, gathered his wits

643
00:36:28,360 --> 00:36:30,449
and walked out of court

644
00:36:30,492 --> 00:36:32,929
and started joking
with the pressmen,

645
00:36:32,973 --> 00:36:37,325
and he also said, um,
he wished Flora well,

646
00:36:37,369 --> 00:36:39,893
and while he had
a penny to his name,

647
00:36:39,936 --> 00:36:41,547
she would never
come to want.

648
00:36:46,900 --> 00:36:49,032
[Gary]
Muybridge, he slips away

649
00:36:49,076 --> 00:36:50,556
in the middle
of the night,

650
00:36:50,599 --> 00:36:52,645
and boards a steamer
to Central America

651
00:36:52,688 --> 00:36:53,907
on a new commission,

652
00:36:55,038 --> 00:36:57,998
leaving, uh, his troubles
and Flora behind.

653
00:36:59,782 --> 00:37:02,568
Flora, she was overcome
by some illness

654
00:37:02,611 --> 00:37:05,092
that's never really
been clearly explained,

655
00:37:06,093 --> 00:37:09,531
and, in July, she died

656
00:37:10,576 --> 00:37:12,708
in hospital,
age 24 by then.

657
00:37:14,536 --> 00:37:19,106
Alone, no money ever having
come through to help her.

658
00:37:19,149 --> 00:37:21,978
[haunting music]

659
00:37:24,633 --> 00:37:27,375
[Marta] The son, Muybridge
put into an orphanage.

660
00:37:27,419 --> 00:37:29,116
Abandoned him, left him.

661
00:37:29,159 --> 00:37:34,948
♪

662
00:37:43,348 --> 00:37:49,005
♪

663
00:38:02,062 --> 00:38:08,155
♪

664
00:38:15,380 --> 00:38:17,295
[Richard]
In Central America,

665
00:38:17,338 --> 00:38:21,821
he changes his name
to Eduardo Santiago Muybridge.

666
00:38:24,084 --> 00:38:26,260
Muybridge took on
so many different names.

667
00:38:26,304 --> 00:38:28,871
He's born
Edward James Muggeridge,

668
00:38:28,915 --> 00:38:31,221
and then he takes out
the "E"-- "Muggridge."

669
00:38:32,571 --> 00:38:35,487
When he goes to
the United States, "Muygridge."

670
00:38:37,053 --> 00:38:40,840
[Marta] Then he becomes
"Muybridge" with a "B,"

671
00:38:40,883 --> 00:38:43,190
and then finally,

672
00:38:43,233 --> 00:38:46,324
the strange
first name, Eadweard,

673
00:38:46,933 --> 00:38:50,893
the name that he takes after
Edward, the King of England.

674
00:38:51,677 --> 00:38:55,855
I think Muybridge
keeps changing his name

675
00:38:55,898 --> 00:38:59,685
because I think
his whole life

676
00:38:59,728 --> 00:39:02,165
is the search for...

677
00:39:03,210 --> 00:39:06,039
his self, for status.

678
00:39:06,082 --> 00:39:10,391
[dramatic folk music]

679
00:39:10,435 --> 00:39:13,655
He says, as a very young child,
to his grandmother,

680
00:39:13,699 --> 00:39:16,963
"I am going to make
a name for myself.

681
00:39:17,572 --> 00:39:21,010
And, uh, if I don't,
you'll never hear from me."

682
00:39:21,054 --> 00:39:26,538
♪

683
00:39:34,981 --> 00:39:36,461
[Richard] A couple
of years before the events

684
00:39:36,504 --> 00:39:39,507
that really
changed Muybridge's life,

685
00:39:39,551 --> 00:39:42,597
the murder of Larkins and
his trip to Central America,

686
00:39:42,641 --> 00:39:45,165
he began working
with Leland Stanford

687
00:39:45,208 --> 00:39:47,123
when he was hired
to photograph his home.

688
00:39:47,863 --> 00:39:52,955
♪

689
00:39:52,999 --> 00:39:55,697
[Philip] If Stanford
is the king on the hill

690
00:39:55,741 --> 00:39:59,484
looking out over all of his
wealth and territory, you know,

691
00:39:59,527 --> 00:40:03,096
Muybridge is an artist
who's commissioned by the King.

692
00:40:03,139 --> 00:40:08,275
♪

693
00:40:13,323 --> 00:40:14,934
[Richard
Leland Stanford's known

694
00:40:14,977 --> 00:40:17,458
for building
the Central Pacific Railroad.

695
00:40:17,502 --> 00:40:20,330
He was one of the richest
and most powerful men

696
00:40:20,374 --> 00:40:23,159
in 19th century California--
indeed in the United States.

697
00:40:23,203 --> 00:40:24,987
He was a governor,
he was a senator.

698
00:40:28,948 --> 00:40:30,776
This man
who is enamored with horses.

699
00:40:30,819 --> 00:40:32,342
He really
is in love with horses.

700
00:40:32,386 --> 00:40:33,953
He'd rather
spend more time

701
00:40:33,996 --> 00:40:35,563
with his horses
than with the railroad.

702
00:40:35,607 --> 00:40:36,782
And in fact,
he often does.

703
00:40:38,914 --> 00:40:40,786
And Leland Stanford builds

704
00:40:40,829 --> 00:40:43,789
what is probably the greatest
stable of trotting horses

705
00:40:43,832 --> 00:40:46,269
in the United States
in the late 19th century.

706
00:40:46,313 --> 00:40:47,923
He throws himself
into it.

707
00:40:51,884 --> 00:40:54,452
Stanford wants to show

708
00:40:54,495 --> 00:40:57,106
that a horse at full gallop
is going to have

709
00:40:57,150 --> 00:41:00,153
all four feet off the ground
at the same time.

710
00:41:00,196 --> 00:41:02,721
The issue is when a horse
is galloping,

711
00:41:04,157 --> 00:41:07,334
no human eye can see exactly
what it's doing.

712
00:41:07,377 --> 00:41:09,031
It's too quick.

713
00:41:09,075 --> 00:41:12,600
He wants Muybridge
to take a single picture

714
00:41:12,644 --> 00:41:14,515
of a moment

715
00:41:14,559 --> 00:41:18,388
when the horse has
all, uh, hooves off the ground.

716
00:41:18,432 --> 00:41:22,392
Muybridge thinks that the--
the adventure is impossible.

717
00:41:22,436 --> 00:41:24,351
The mission is impossible.

718
00:41:24,394 --> 00:41:27,441
The process of photography
is just too slow.

719
00:41:28,311 --> 00:41:29,835
When it's
all very quickly,

720
00:41:29,878 --> 00:41:32,272
I think, put together,
and they get--

721
00:41:33,969 --> 00:41:36,798
uh, I think, just a smudge.

722
00:41:39,453 --> 00:41:43,413
[wind howling]

723
00:41:43,457 --> 00:41:46,634
When Muybridge comes back
from Central America,

724
00:41:48,114 --> 00:41:50,682
they picked up
this mission,

725
00:41:51,770 --> 00:41:53,249
this adventure.

726
00:41:55,077 --> 00:41:59,473
[Philip] Muybridge proposes
to try to capture

727
00:42:00,561 --> 00:42:03,172
a sequence of images.
Not just one picture,

728
00:42:03,216 --> 00:42:04,783
but a sequence of images,

729
00:42:04,826 --> 00:42:06,741
one after another,

730
00:42:06,785 --> 00:42:09,004
that show a horse running
through time.

731
00:42:10,615 --> 00:42:12,921
And Stanford
agrees to this.

732
00:42:15,358 --> 00:42:18,448
[Marta] Stanford
wants to use machines

733
00:42:18,492 --> 00:42:21,277
to understand
how the horse runs

734
00:42:21,321 --> 00:42:23,758
in order
to make them run faster,

735
00:42:23,802 --> 00:42:25,760
in order to make
them compete better,

736
00:42:25,804 --> 00:42:27,457
in order to win.

737
00:42:27,501 --> 00:42:30,069
I think Muybridge had no
interest in that at all.

738
00:42:30,112 --> 00:42:31,331
I think Muybridge
was interested in

739
00:42:32,462 --> 00:42:34,726
the idea
that one could

740
00:42:35,596 --> 00:42:39,600
create the illusion
of real life with a camera.

741
00:42:41,384 --> 00:42:43,343
And that's what
he set out to do.

742
00:42:43,386 --> 00:42:45,475
He wants to capture
this horse moving

743
00:42:45,519 --> 00:42:46,346
over a certain...

744
00:42:47,956 --> 00:42:48,870
space in time.

745
00:42:49,654 --> 00:42:50,568
So, he's thinking,

746
00:42:51,656 --> 00:42:54,441
"Well, the horse
is moving, you know,

747
00:42:54,484 --> 00:42:56,356
as it--
as it runs across.

748
00:42:56,399 --> 00:42:58,358
I'm going
to need multiple cameras."

749
00:42:58,401 --> 00:42:59,533
Of course,
you had all the naysayers

750
00:42:59,577 --> 00:43:01,143
saying that
it couldn't be done.

751
00:43:01,187 --> 00:43:04,103
The chemistry used
to produce the images

752
00:43:04,146 --> 00:43:05,017
at that time period,

753
00:43:05,060 --> 00:43:07,454
the lenses, the shutters,

754
00:43:07,497 --> 00:43:10,239
all of the technology,
um, said no.

755
00:43:10,283 --> 00:43:12,285
[Marta]
Muybridge is still working

756
00:43:12,328 --> 00:43:14,766
with a very slow,
wet plate.

757
00:43:15,941 --> 00:43:17,856
[Luther] So, this was made
by taking a piece of glass

758
00:43:18,552 --> 00:43:21,250
and, uh, pouring
on a very special type

759
00:43:21,294 --> 00:43:23,078
of chemistry
called collodion.

760
00:43:23,122 --> 00:43:25,864
Collodion are cotton balls
dissolved in nitric acid.

761
00:43:25,907 --> 00:43:28,344
They have ether
and alcohol as the vaporants

762
00:43:28,388 --> 00:43:30,129
and salts of iodides
and bromides,

763
00:43:30,172 --> 00:43:31,696
in this whole
mixture concoction.

764
00:43:31,739 --> 00:43:33,045
Super volatile.

765
00:43:33,088 --> 00:43:34,960
You could have caught fire

766
00:43:35,003 --> 00:43:36,875
and blown yourself up.

767
00:43:36,918 --> 00:43:38,703
[Luther] Pour that
onto the glass plate

768
00:43:38,746 --> 00:43:40,443
from corner to corner,
to corner to corner,

769
00:43:40,487 --> 00:43:42,141
and drain that off

770
00:43:42,184 --> 00:43:44,578
and then put that
into a bath of silver nitrate.

771
00:43:44,622 --> 00:43:47,363
The silver nitrate
was not light-sensitive,

772
00:43:47,407 --> 00:43:49,148
the collodion
is not light-sensitive,

773
00:43:49,191 --> 00:43:51,324
but you put this little
bit of chemistry together

774
00:43:51,367 --> 00:43:53,021
and it becomes
light-sensitive,

775
00:43:53,761 --> 00:43:56,590
and, uh, it makes molecules
of light-sensitive compound

776
00:43:56,634 --> 00:43:59,506
floating in a sticky substance
stuck to the glass.

777
00:43:59,549 --> 00:44:03,205
And while that light-sensitive
emulsion is still tacky,

778
00:44:03,249 --> 00:44:05,599
carry that plate
in a light-proof box

779
00:44:05,643 --> 00:44:07,079
over to his camera,

780
00:44:07,122 --> 00:44:09,385
put it into his camera,
expose it.

781
00:44:09,429 --> 00:44:11,300
Back in the day
you were counting out seconds,

782
00:44:11,344 --> 00:44:13,215
not fractions of seconds.

783
00:44:13,259 --> 00:44:15,565
You can't remove a lens cap
real fast-- that fast--

784
00:44:15,609 --> 00:44:17,437
and have it happen.
You couldn't time that.

785
00:44:18,046 --> 00:44:19,395
[Gary] This is how
primitive it was.

786
00:44:21,746 --> 00:44:22,660
I expose.

787
00:44:23,922 --> 00:44:26,446
So, you-- you're
not going to be

788
00:44:26,489 --> 00:44:27,839
able to capture
a horse running.

789
00:44:28,535 --> 00:44:30,102
Probably what's
the most important

790
00:44:30,145 --> 00:44:32,147
part of this equation
is a shutter.

791
00:44:32,191 --> 00:44:33,496
Something
to open and close

792
00:44:33,540 --> 00:44:35,803
to let a fraction
of a second of light

793
00:44:35,847 --> 00:44:36,761
into that camera.

794
00:44:37,544 --> 00:44:39,589
That would allow
the light to go through.

795
00:44:42,810 --> 00:44:45,334
[Luther] He kept on trying,
reinventing his inventions,

796
00:44:45,378 --> 00:44:47,510
figuring out
better ways to do this.

797
00:44:47,554 --> 00:44:49,208
So, this
wasn't a one-shot deal.

798
00:44:49,251 --> 00:44:51,471
He tried
all different ways to do this.

799
00:44:53,473 --> 00:44:56,171
[Marta] Still,
his cameras are too slow

800
00:44:56,215 --> 00:44:58,652
to ever capture the horse,
so he has to make something

801
00:44:58,696 --> 00:45:00,785
that's completely artificial

802
00:45:00,828 --> 00:45:03,613
in order
to make the cameras

803
00:45:04,484 --> 00:45:05,833
capture something.

804
00:45:08,967 --> 00:45:10,925
He built
this big, monstrous wall

805
00:45:10,969 --> 00:45:13,275
that was
raked at an angle

806
00:45:13,319 --> 00:45:15,408
so the sunlight
would bounce off of it

807
00:45:15,451 --> 00:45:16,975
and straight
into the cameras.

808
00:45:17,018 --> 00:45:20,935
[suspenseful music]

809
00:45:20,979 --> 00:45:23,459
[Marta] He then
makes the ground white

810
00:45:24,330 --> 00:45:26,506
by putting
marble dust or lime on it.

811
00:45:28,073 --> 00:45:29,727
[Luther] White,
white, white, white.

812
00:45:29,770 --> 00:45:31,511
All the light
they could possibly muster.

813
00:45:33,121 --> 00:45:36,516
They were trying to photograph
the light behind the object,

814
00:45:36,559 --> 00:45:39,737
and the horse would become
the absence of light.

815
00:45:42,522 --> 00:45:43,958
[Marta]
Looking at the wall

816
00:45:44,002 --> 00:45:45,830
are, in fact,
a series of cameras.

817
00:45:46,831 --> 00:45:48,397
Each a stereo camera

818
00:45:48,441 --> 00:45:52,053
that has
two lenses which operate

819
00:45:52,097 --> 00:45:54,664
faster than
any lens operated at the time.

820
00:45:58,451 --> 00:46:00,627
In front of them
is a guillotine shutter.

821
00:46:02,760 --> 00:46:05,675
And there's
the added thing of alchemy.

822
00:46:06,372 --> 00:46:09,288
[transcendent vocal music]

823
00:46:10,071 --> 00:46:11,420
[Marta] There's
something in the chemistry

824
00:46:11,464 --> 00:46:13,422
that Muybridge does.

825
00:46:13,466 --> 00:46:14,902
We don't know
what it is.

826
00:46:14,946 --> 00:46:19,820
♪

827
00:46:21,648 --> 00:46:25,043
[suspenseful music]

828
00:46:25,086 --> 00:46:26,522
[Gary]
Muybridge, with help,

829
00:46:26,566 --> 00:46:28,742
uh, from some
of Stanford's engineers,

830
00:46:28,786 --> 00:46:30,918
had, uh, been working
on this for months,

831
00:46:30,962 --> 00:46:33,442
and they invited
the press to come and watch

832
00:46:33,486 --> 00:46:36,968
so there would be no disputing
that the images were real.

833
00:46:38,012 --> 00:46:43,148
♪

834
00:46:47,543 --> 00:46:48,631
[horse snorts]

835
00:46:50,285 --> 00:46:51,373
[horse rider] Yaw!

836
00:46:54,333 --> 00:46:58,728
[music crescendos]

837
00:47:00,905 --> 00:47:01,906
[music cuts out]

838
00:47:06,736 --> 00:47:09,827
[transcendent music]

839
00:47:17,356 --> 00:47:18,531
[Gary]
And the image appears.

840
00:47:19,749 --> 00:47:20,576
And it is like...

841
00:47:22,187 --> 00:47:25,668
"Ooh! Oh, my God."

842
00:47:28,323 --> 00:47:29,977
It's-- it's-- it's magical.

843
00:47:33,459 --> 00:47:35,374
[Marta
He was able to

844
00:47:35,417 --> 00:47:37,811
take a series of images

845
00:47:37,855 --> 00:47:40,553
in 1/500th, 1/1000th,

846
00:47:40,596 --> 00:47:42,685
1/2000th of a second.

847
00:47:42,729 --> 00:47:44,035
He captures time.

848
00:47:46,472 --> 00:47:48,169
[Marta] He got
mostly silhouettes,

849
00:47:48,213 --> 00:47:51,477
but they were exactly
what Stanford had hoped.

850
00:47:52,173 --> 00:47:53,174
For the first time,

851
00:47:54,219 --> 00:47:57,570
one could see
the gaits of a horse.

852
00:47:57,613 --> 00:47:58,963
It's like
splitting the atom.

853
00:47:59,006 --> 00:48:01,530
It's like
discovering penicillin

854
00:48:01,574 --> 00:48:04,229
or-- I-- I mean, you know,

855
00:48:04,272 --> 00:48:05,404
it's-- it's...

856
00:48:07,449 --> 00:48:09,669
a monumental achievement.

857
00:48:10,670 --> 00:48:12,498
Muybridge
was offering a picture

858
00:48:12,541 --> 00:48:13,760
that nobody
had seen before.

859
00:48:14,369 --> 00:48:16,197
Here, we're involved,

860
00:48:16,241 --> 00:48:18,721
I would say,
in a real revolution.

861
00:48:18,765 --> 00:48:21,420
The camera becomes

862
00:48:21,463 --> 00:48:23,030
more powerful
than the eye.

863
00:48:23,074 --> 00:48:25,206
The camera's purposes,
its abilities,

864
00:48:25,250 --> 00:48:28,383
its possibilities,
become redefined.

865
00:48:28,427 --> 00:48:30,690
To be something
that can penetrate

866
00:48:30,733 --> 00:48:32,866
into, basically,
an invisible world.

867
00:48:34,868 --> 00:48:38,828
[Marta] The images
were simply a phenomenon.

868
00:48:39,525 --> 00:48:42,963
Everyone is astonished
and Muybridge is triumphant.

869
00:48:43,007 --> 00:48:46,749
[soft classical music]

870
00:48:49,230 --> 00:48:51,972
[Thomas] But immediately,
there was also skepticism.

871
00:48:53,234 --> 00:48:55,410
There are people
who don't believe them.

872
00:48:56,063 --> 00:48:58,979
If you look at paintings
in the 19th century

873
00:48:59,023 --> 00:49:01,155
and earlier
of-- of galloping horses,

874
00:49:01,199 --> 00:49:03,897
they're very often
like a rocking horse.

875
00:49:04,506 --> 00:49:07,683
You know,
the legs are stretched out

876
00:49:07,727 --> 00:49:09,511
before and after.

877
00:49:09,555 --> 00:49:11,383
Whereas
if you look at a Muybridge,

878
00:49:11,426 --> 00:49:13,820
they're curled up
under the belly.

879
00:49:14,777 --> 00:49:17,476
I often say they
look like a dead spider.

880
00:49:17,519 --> 00:49:18,651
They're ugly.

881
00:49:22,046 --> 00:49:25,223
Rodin, the great
French sculptor of this era,

882
00:49:25,266 --> 00:49:26,702
when he was asked,

883
00:49:26,746 --> 00:49:28,269
"Do you believe these?
Are these true?"

884
00:49:28,313 --> 00:49:29,792
He said,

885
00:49:29,836 --> 00:49:32,752
"No, Muybridge's work lies.

886
00:49:33,840 --> 00:49:35,842
Muybridge gives you
the truth of the machine

887
00:49:36,582 --> 00:49:38,323
that can stop an image,

888
00:49:38,366 --> 00:49:40,107
but it's not the truth
of human experience.

889
00:49:41,065 --> 00:49:43,154
It's not the truth
of human vision."

890
00:49:43,197 --> 00:49:45,460
[solemn music]

891
00:49:47,810 --> 00:49:51,336
Leland Stanford travels
to Europe on the heels

892
00:49:51,379 --> 00:49:54,034
of the success
of Muybridge's,

893
00:49:54,992 --> 00:49:59,039
uh, experiments
and the construction

894
00:49:59,083 --> 00:50:00,736
of the album,

895
00:50:00,780 --> 00:50:01,737
The Attitudes
of Animals in Motion.

896
00:50:03,348 --> 00:50:05,828
And Stanford brings
a copy of the album

897
00:50:05,872 --> 00:50:08,527
to the great French painter,

898
00:50:08,570 --> 00:50:10,355
Jean-Louis Ernest Meissonier.

899
00:50:11,965 --> 00:50:15,403
And Meissonier is astounded

900
00:50:15,447 --> 00:50:16,926
by what he sees.

901
00:50:19,146 --> 00:50:22,932
Meissonier really expresses
disbelief that, you know,

902
00:50:22,976 --> 00:50:24,891
the pictures were
authentic and true.

903
00:50:28,938 --> 00:50:30,897
Stanford responded
to Meissonier,

904
00:50:30,940 --> 00:50:32,290
"The machine cannot lie."

905
00:50:36,163 --> 00:50:37,860
So, can the machine lie?

906
00:50:38,557 --> 00:50:41,255
You know, I think
that in some ways, you know,

907
00:50:41,299 --> 00:50:43,083
Muybridge
and his photographs

908
00:50:43,127 --> 00:50:45,085
are at the heart
of this question.

909
00:50:45,129 --> 00:50:49,394
♪

910
00:50:49,437 --> 00:50:51,744
There's the question
of how do you prove

911
00:50:53,050 --> 00:50:54,181
that they're authentic?

912
00:50:54,790 --> 00:50:56,575
That even though
they look very bizarre

913
00:50:56,618 --> 00:50:57,793
when you look
at them one by one,

914
00:50:58,968 --> 00:51:01,145
if you look at them
in rapid succession

915
00:51:02,450 --> 00:51:04,713
so that, you know,
you're looking at them in this,

916
00:51:04,757 --> 00:51:07,368
in effect,
motion picture device,

917
00:51:07,412 --> 00:51:09,936
you can see
continuous motion.

918
00:51:09,979 --> 00:51:11,329
It doesn't look weird.

919
00:51:11,372 --> 00:51:13,331
It looks
just like a horse galloping.

920
00:51:13,374 --> 00:51:17,161
[curious music]

921
00:51:21,600 --> 00:51:24,429
So, he devises

922
00:51:24,472 --> 00:51:26,518
what he calls
a zoopraxiscope.

923
00:51:26,561 --> 00:51:29,434
Muybridge
actually creates disks

924
00:51:30,043 --> 00:51:33,655
that have
sequential drawings on them--

925
00:51:33,699 --> 00:51:35,788
drawings made
from his photographs--

926
00:51:35,831 --> 00:51:37,485
each phase
of the movement,

927
00:51:37,529 --> 00:51:40,227
and a machine

928
00:51:40,271 --> 00:51:43,448
that will put those
disks into motion

929
00:51:43,491 --> 00:51:45,624
and project
the movement of the animal.

930
00:51:45,667 --> 00:51:49,018
[reel whirring]

931
00:51:51,499 --> 00:51:54,459
He is able to show discs

932
00:51:54,502 --> 00:51:57,810
that he's made
from his photographs from

933
00:51:57,853 --> 00:51:59,812
the San Francisco Olympic Club.

934
00:52:01,814 --> 00:52:04,164
So, you have
guys doing somersaults,

935
00:52:04,208 --> 00:52:06,079
jumping
and running and leaping

936
00:52:06,123 --> 00:52:08,516
and even
shaking his hand.

937
00:52:09,822 --> 00:52:11,824
Muybridge,
sort of like Alfred Hitchcock,

938
00:52:11,867 --> 00:52:13,521
he always
puts himself into the project.

939
00:52:13,565 --> 00:52:17,830
♪

940
00:52:17,873 --> 00:52:20,267
Then he gives public lectures

941
00:52:20,311 --> 00:52:23,401
and-- and people are
absolutely lining up to see it.

942
00:52:23,444 --> 00:52:25,185
They love it.
They can't get enough of it.

943
00:52:25,229 --> 00:52:26,708
[applause]

944
00:52:29,711 --> 00:52:32,497
He combines
the various photographs

945
00:52:32,540 --> 00:52:36,065
that he had made
in this creative, narrative,

946
00:52:36,718 --> 00:52:38,155
fantastical way.

947
00:52:39,330 --> 00:52:41,897
[Gary] He has
an idea that, "What I stopped,

948
00:52:41,941 --> 00:52:43,290
I can reanimate."

949
00:52:43,334 --> 00:52:45,074
So, when people
first saw this,

950
00:52:45,118 --> 00:52:48,426
this was
the very beginnings of cinema.

951
00:52:48,469 --> 00:52:51,733
Just the effect of watching
something that was still

952
00:52:52,691 --> 00:52:55,476
move... is magical.

953
00:52:56,303 --> 00:52:58,087
It's witchcraft.

954
00:52:58,131 --> 00:53:01,917
[stirring orchestral music]

955
00:53:08,663 --> 00:53:11,666
[Marta] There's,
a-- a new aspect

956
00:53:11,710 --> 00:53:14,060
to Muybridge's understanding

957
00:53:14,103 --> 00:53:16,367
of what kind of name
he wants to make for himself.

958
00:53:17,194 --> 00:53:19,065
He wants
to be a scientist,

959
00:53:19,108 --> 00:53:21,241
and he wants to be
associated with that kind of...

960
00:53:22,460 --> 00:53:24,113
higher calling.

961
00:53:24,157 --> 00:53:26,246
I mean, even on the back here,

962
00:53:26,290 --> 00:53:29,075
it says, "Left forefoot,"

963
00:53:29,118 --> 00:53:31,860
and then the horse's head
is 85 inches

964
00:53:31,904 --> 00:53:34,472
and then 38 inches,

965
00:53:34,515 --> 00:53:37,997
the vertical lines
are 27 inches apart.

966
00:53:38,040 --> 00:53:40,695
I mean,
it's incredibly detailed.

967
00:53:40,739 --> 00:53:43,829
But I also like

968
00:53:43,872 --> 00:53:45,004
the aesthetic.

969
00:53:46,135 --> 00:53:47,572
I think they're
just beautiful-looking.

970
00:53:50,401 --> 00:53:54,100
[soft classical music]

971
00:53:54,143 --> 00:53:57,321
[Marta] And Muybridge
goes to Europe as a famous man.

972
00:53:57,973 --> 00:53:59,627
He's made
a name for himself.

973
00:54:00,585 --> 00:54:04,589
And he presents
his zoopraxiscope,

974
00:54:04,632 --> 00:54:07,635
uh, to the artists
and the scientists of his time,

975
00:54:07,679 --> 00:54:09,115
and the royal family.

976
00:54:09,158 --> 00:54:11,900
There's a record
of the Prince of Wales

977
00:54:11,944 --> 00:54:14,207
being astonished
and laughing

978
00:54:14,251 --> 00:54:16,905
and enjoying
what Muybridge has to show.

979
00:54:16,949 --> 00:54:20,735
♪

980
00:54:20,779 --> 00:54:22,781
Letter from Muybridge
to Frank Shay,

981
00:54:22,824 --> 00:54:24,173
Leland Stanford's secretary.

982
00:54:25,523 --> 00:54:27,568
"Many of the most
eminent men in arts,

983
00:54:27,612 --> 00:54:29,614
science and letters
in Europe were present

984
00:54:29,657 --> 00:54:31,006
at the exhibition.

985
00:54:31,050 --> 00:54:33,748
Happily,
I have strong nerves,

986
00:54:33,792 --> 00:54:35,315
or I should have blushed

987
00:54:35,359 --> 00:54:37,535
with the lavishness
of their praises.

988
00:54:38,405 --> 00:54:41,103
Yours faithfully, Muybridge."

989
00:54:41,147 --> 00:54:44,019
"Happily,
I have strong nerves,"

990
00:54:44,063 --> 00:54:45,194
I'll have to
use that one.

991
00:54:46,761 --> 00:54:48,328
[posh accent]
"No, you're too kind.

992
00:54:48,372 --> 00:54:49,764
Oh, no, it was--

993
00:54:49,808 --> 00:54:51,853
it was
merely competent, come now.

994
00:54:52,767 --> 00:54:54,116
Ha-- ha-- happily,

995
00:54:54,160 --> 00:54:55,596
I have a strong nerve."

996
00:54:55,640 --> 00:55:00,122
[laughing]

997
00:55:01,689 --> 00:55:05,171
[normal accent] You know, and
he's soaking up the applause

998
00:55:05,214 --> 00:55:07,042
that he so
desperately wanted.

999
00:55:07,086 --> 00:55:09,349
[applause]

1000
00:55:10,045 --> 00:55:11,960
Now he's quite famous.

1001
00:55:12,004 --> 00:55:14,354
He is being asked
to these places

1002
00:55:14,398 --> 00:55:18,271
that Stanford had to
buy his way into.

1003
00:55:18,315 --> 00:55:20,926
And it puts
Stanford's nose out of joint.

1004
00:55:23,232 --> 00:55:26,018
He doesn't-- he-- he--
he doesn't like this.

1005
00:55:26,801 --> 00:55:28,020
"It was my idea,

1006
00:55:28,847 --> 00:55:30,065
my funding."

1007
00:55:34,243 --> 00:55:36,724
[Richard] Stanford's
letter to Stillman, 1883.

1008
00:55:38,335 --> 00:55:40,337
"The actual facts are,
from beginning to end,

1009
00:55:40,946 --> 00:55:43,731
he was an instrument
to carry out my ideas.

1010
00:55:44,776 --> 00:55:46,734
I think the fame
that we have given him

1011
00:55:46,778 --> 00:55:48,040
has turned his head."

1012
00:55:48,083 --> 00:55:51,348
[mysterious music]

1013
00:55:53,132 --> 00:55:54,829
When Muybridge is about to get

1014
00:55:54,873 --> 00:55:55,961
his greatest honor,

1015
00:55:56,831 --> 00:55:58,093
Stanford publishes a book.

1016
00:55:59,704 --> 00:56:01,836
But the author of the book
is not Muybridge.

1017
00:56:04,099 --> 00:56:06,450
The title
is The Horse in Motion

1018
00:56:06,493 --> 00:56:08,452
with a Study
of Animal Mechanics.

1019
00:56:08,495 --> 00:56:11,629
And it's by J.D.B. Stillman.

1020
00:56:11,672 --> 00:56:13,587
"Executed and published

1021
00:56:13,631 --> 00:56:16,373
under the auspices
of Leland Stanford."

1022
00:56:17,591 --> 00:56:21,378
There is no credit here
given to Muybridge at all.

1023
00:56:21,421 --> 00:56:23,205
He is not mentioned
on the title page.

1024
00:56:23,945 --> 00:56:27,122
He is mentioned
only briefly in the preface

1025
00:56:27,166 --> 00:56:29,168
and then
again as a technician.

1026
00:56:32,693 --> 00:56:36,610
So, all of a sudden,
Muybridge's triumph is dashed.

1027
00:56:36,654 --> 00:56:39,439
Muybridge's whole work
is called into question

1028
00:56:39,483 --> 00:56:42,442
and his name, uh,
is besmirched.

1029
00:56:42,486 --> 00:56:44,966
He's actually being told
that the work isn't his--

1030
00:56:45,010 --> 00:56:45,880
the work he's showing.

1031
00:56:46,577 --> 00:56:50,145
He-- it-- it's not his,
it's-- it's stolen.

1032
00:56:53,235 --> 00:56:56,761
I mean, talk about
having your legs cut off.

1033
00:57:00,112 --> 00:57:01,505
The Royal Society...

1034
00:57:03,115 --> 00:57:06,248
that was the--
that's the Oscar.

1035
00:57:07,511 --> 00:57:10,078
That's the recognition
by your peers,

1036
00:57:10,122 --> 00:57:11,428
and he was almost,

1037
00:57:12,516 --> 00:57:14,169
almost to it,
you know what I mean?

1038
00:57:14,866 --> 00:57:16,563
It is really a b-- a betrayal.

1039
00:57:18,435 --> 00:57:20,175
He doesn't ha--
he doesn't handle it well.

1040
00:57:21,438 --> 00:57:22,526
And-- and really,

1041
00:57:23,570 --> 00:57:25,572
uh, Leland Stanford
just cuts him off.

1042
00:57:26,181 --> 00:57:29,489
Muybridge
never got over,

1043
00:57:29,533 --> 00:57:32,536
never got over the pain
of what Stanford did.

1044
00:57:33,362 --> 00:57:34,494
He writes a letter

1045
00:57:34,538 --> 00:57:37,584
to Mrs. Stanford
years later

1046
00:57:37,628 --> 00:57:39,238
saying how hurt he was.

1047
00:57:39,281 --> 00:57:41,675
"I received a note
requesting my presence

1048
00:57:41,719 --> 00:57:43,590
at the rooms
of the society.

1049
00:57:44,243 --> 00:57:45,984
Upon my arrival,
I was conducted

1050
00:57:46,027 --> 00:57:47,246
to the council chamber

1051
00:57:47,289 --> 00:57:48,813
and was asked
by the president

1052
00:57:48,856 --> 00:57:51,119
if I knew
anything about a book,

1053
00:57:51,163 --> 00:57:53,513
then on the table,
having on its title page

1054
00:57:53,557 --> 00:57:55,428
the following:

1055
00:57:55,472 --> 00:57:59,432
The Horse in Motion
by J.D.B. Stillman, M.D.

1056
00:58:00,389 --> 00:58:01,956
Published
under the auspices

1057
00:58:02,000 --> 00:58:03,436
of Leland Stanford.

1058
00:58:03,480 --> 00:58:05,438
The doors
of the Royal Society

1059
00:58:05,482 --> 00:58:08,049
were thus
closed against me,

1060
00:58:08,093 --> 00:58:10,399
and my promising
career in London

1061
00:58:10,443 --> 00:58:13,620
was thus brought
to a disastrous close."

1062
00:58:15,753 --> 00:58:16,841
So great.

1063
00:58:16,884 --> 00:58:20,671
[ominous music]

1064
00:58:22,194 --> 00:58:25,240
Muybridge
began lecturing again

1065
00:58:25,284 --> 00:58:28,200
with his zoopraxiscope
all over the East Coast.

1066
00:58:28,243 --> 00:58:29,767
He was in Baltimore,

1067
00:58:29,810 --> 00:58:31,682
Washington,
New York, Philadelphia...

1068
00:58:33,988 --> 00:58:36,600
[Amy] When he was
finished with California,

1069
00:58:36,643 --> 00:58:38,079
he went to Europe.

1070
00:58:38,123 --> 00:58:39,167
When Europe
was finished with him,

1071
00:58:39,211 --> 00:58:40,647
he came
back to the States.

1072
00:58:40,691 --> 00:58:43,215
And he just keeps
soldiering on,

1073
00:58:43,258 --> 00:58:44,608
picking himself up

1074
00:58:44,651 --> 00:58:46,218
when his reputation
is trashed,

1075
00:58:46,261 --> 00:58:47,785
when his body
is trashed.

1076
00:58:47,828 --> 00:58:49,264
He is persistent

1077
00:58:50,091 --> 00:58:52,050
and he keeps finding a way

1078
00:58:52,093 --> 00:58:53,617
to be relevant and important.

1079
00:58:53,660 --> 00:58:58,665
♪

1080
00:59:03,104 --> 00:59:06,325
In one of these lectures,

1081
00:59:06,368 --> 00:59:08,457
he met Thomas Eakins,
the painter.

1082
00:59:09,633 --> 00:59:11,635
Eakins was
one of the painters,

1083
00:59:11,678 --> 00:59:13,114
like Meissonier,

1084
00:59:13,158 --> 00:59:16,422
who saw
Muybridge's Stanford work

1085
00:59:16,465 --> 00:59:18,511
and was absolutely
enthralled by it.

1086
00:59:18,555 --> 00:59:20,600
Eeakins
introduced him to the provost

1087
00:59:20,644 --> 00:59:22,080
of the University
of Pennsylvania

1088
00:59:22,123 --> 00:59:23,472
whose name
was William Pepper,

1089
00:59:23,516 --> 00:59:26,040
and they invited Muybridge

1090
00:59:26,084 --> 00:59:29,348
to make
a new series of photographs

1091
00:59:29,391 --> 00:59:30,958
on animal
and human movements.

1092
00:59:31,002 --> 00:59:35,310
[lively music]

1093
00:59:36,703 --> 00:59:39,097
[Amy] This was
a very expensive undertaking,

1094
00:59:39,140 --> 00:59:41,621
and William Pepper
was really taking a gamble

1095
00:59:41,665 --> 00:59:43,101
with a lot of
people's money

1096
00:59:43,144 --> 00:59:46,060
on the project's outcome

1097
00:59:46,104 --> 00:59:48,497
being magnificent
and amazing.

1098
00:59:49,237 --> 00:59:50,630
[Marta] Pepper creates

1099
00:59:50,674 --> 00:59:52,153
what he calls
his "scientific commission."

1100
00:59:52,893 --> 00:59:54,765
A group of professors

1101
00:59:54,808 --> 00:59:57,071
that will ensure

1102
00:59:57,115 --> 00:59:59,291
the scientific accuracy
of the project.

1103
01:00:00,422 --> 01:00:02,903
Why did he put
this committee together?

1104
01:00:02,947 --> 01:00:04,731
Why did he
need this oversight?

1105
01:00:05,340 --> 01:00:07,342
He must have known
about the murder,

1106
01:00:07,386 --> 01:00:09,214
because that
was in all the papers.

1107
01:00:09,823 --> 01:00:13,348
He may have known
about Muybridge's reputation

1108
01:00:13,392 --> 01:00:15,350
as an eccentric character.

1109
01:00:17,526 --> 01:00:18,832
[Amy] There's no question

1110
01:00:18,876 --> 01:00:20,138
that this
is Muybridge's project,

1111
01:00:20,181 --> 01:00:21,313
but he is so circumscribed

1112
01:00:21,356 --> 01:00:24,098
in what he can do

1113
01:00:24,142 --> 01:00:27,275
by virtue of the people

1114
01:00:27,319 --> 01:00:29,103
who are overseeing his work--

1115
01:00:29,930 --> 01:00:32,150
professors, doctors,

1116
01:00:32,193 --> 01:00:34,413
physicists, artists.

1117
01:00:36,415 --> 01:00:38,765
They believe
that he can deliver

1118
01:00:39,636 --> 01:00:40,941
what they all want.

1119
01:00:42,726 --> 01:00:45,250
Frances Durkheim,
who's a neurologist,

1120
01:00:45,293 --> 01:00:46,686
brought his patients

1121
01:00:46,730 --> 01:00:48,557
from the Philadelphia hospital

1122
01:00:48,601 --> 01:00:51,909
to measure and document
the changes in their gait,

1123
01:00:51,952 --> 01:00:53,650
the difficulties
they had with balance.

1124
01:00:54,999 --> 01:00:58,785
[reel rattling]

1125
01:00:59,786 --> 01:01:05,618
♪

1126
01:01:08,752 --> 01:01:12,016
And then you have
the comparative zoologists

1127
01:01:12,059 --> 01:01:15,715
who are really interested
in this very Darwinian project

1128
01:01:15,759 --> 01:01:17,412
of understanding
the relationship

1129
01:01:17,456 --> 01:01:19,414
between animals and humans.

1130
01:01:19,458 --> 01:01:21,329
Where is that
line really crossed?

1131
01:01:21,373 --> 01:01:25,594
♪

1132
01:01:25,638 --> 01:01:29,424
[reel rattling]

1133
01:01:32,297 --> 01:01:34,168
[Amy] And then,
of course, you have artists

1134
01:01:34,212 --> 01:01:38,172
who stand to benefit
from these representations

1135
01:01:38,216 --> 01:01:39,478
of the body in motion.

1136
01:01:41,132 --> 01:01:47,704
♪

1137
01:01:48,792 --> 01:01:50,097
[Marta]
At the very beginning,

1138
01:01:50,141 --> 01:01:53,013
he sets up his cameras,

1139
01:01:53,057 --> 01:01:55,668
not in a sequence at all.

1140
01:01:56,451 --> 01:01:59,759
He has six cameras

1141
01:01:59,803 --> 01:02:02,196
and he plants them

1142
01:02:02,240 --> 01:02:05,156
around the subject

1143
01:02:05,199 --> 01:02:06,635
he's photographing.

1144
01:02:06,679 --> 01:02:09,377
And he has them synched

1145
01:02:09,421 --> 01:02:11,249
to go off simultaneously.

1146
01:02:12,641 --> 01:02:14,469
It's kind of
like a cinematic tracking shot,

1147
01:02:14,513 --> 01:02:16,341
the camera
is moving around.

1148
01:02:17,690 --> 01:02:21,476
[music intensifying]

1149
01:02:27,308 --> 01:02:30,094
[Marta] And then,
just as he did in Palo Alto,

1150
01:02:30,137 --> 01:02:32,400
he puts
12 cameras in a row

1151
01:02:32,444 --> 01:02:34,663
and he
photographs sequences.

1152
01:02:38,319 --> 01:02:42,410
And then he adds
two more cameras,

1153
01:02:42,454 --> 01:02:43,803
so from the rear
and from the front.

1154
01:02:44,543 --> 01:02:48,634
And then he
takes 12, 12 and 12,

1155
01:02:48,677 --> 01:02:51,593
and he assembles them
so that they line up.

1156
01:02:52,377 --> 01:02:55,728
But in order
to make those final prints,

1157
01:02:55,772 --> 01:02:57,556
he has to organize them,

1158
01:02:57,599 --> 01:02:59,079
he has to
enlarge some of them,

1159
01:02:59,123 --> 01:03:01,081
he has to
crop the laterals.

1160
01:03:01,125 --> 01:03:03,301
He has to make
every image match up.

1161
01:03:07,044 --> 01:03:09,568
[Amy] All of these men
on the commission

1162
01:03:09,611 --> 01:03:13,528
think they're creating
knowledge that is neutral,

1163
01:03:13,572 --> 01:03:15,922
that is verifiable,
that is measurable.

1164
01:03:18,751 --> 01:03:21,275
[Marta] We see a grid
in the background,

1165
01:03:21,319 --> 01:03:23,974
very scientific looking grid
that makes the whole picture

1166
01:03:24,017 --> 01:03:25,192
look scientific.

1167
01:03:28,892 --> 01:03:30,676
[Amy] Muybridge wasn't
the first photographer

1168
01:03:30,719 --> 01:03:32,243
to use a grid,

1169
01:03:32,286 --> 01:03:33,418
but it typically was used

1170
01:03:33,461 --> 01:03:35,420
in anthropological studies

1171
01:03:35,463 --> 01:03:37,291
to document images

1172
01:03:37,335 --> 01:03:38,162
of people of color.

1173
01:03:39,903 --> 01:03:41,687
[Marta]
There was a strong belief

1174
01:03:41,730 --> 01:03:43,820
in the hierarchy
of race at this time.

1175
01:03:44,472 --> 01:03:46,300
There's the belief

1176
01:03:46,344 --> 01:03:49,782
that the most
technologically advanced humans

1177
01:03:49,826 --> 01:03:52,350
are the most
civilized humans.

1178
01:03:53,394 --> 01:03:55,788
And there's a desire

1179
01:03:55,832 --> 01:03:57,659
to measure
racial difference

1180
01:03:57,703 --> 01:04:00,445
in order
to show a hierarchy

1181
01:04:00,488 --> 01:04:02,273
with white men
at the top.

1182
01:04:02,316 --> 01:04:05,798
[solemn music]

1183
01:04:07,800 --> 01:04:08,975
[Amy]
In Muybridge's case,

1184
01:04:09,019 --> 01:04:10,324
the very first person

1185
01:04:10,368 --> 01:04:12,413
that he photographs with a grid

1186
01:04:12,457 --> 01:04:16,156
is a gentleman who's listed
as a mulatto pugilist.

1187
01:04:16,200 --> 01:04:20,117
[Marta] Ben Bailey, the first,
and only, Black model

1188
01:04:20,160 --> 01:04:21,031
in the whole project.

1189
01:04:22,162 --> 01:04:24,817
The grid
appears with Ben Bailey,

1190
01:04:24,861 --> 01:04:26,210
because the commissioners

1191
01:04:26,253 --> 01:04:28,734
were studying
racial difference.

1192
01:04:28,777 --> 01:04:32,564
♪

1193
01:04:39,963 --> 01:04:42,226
[Marta] And the grid
stays in the picture

1194
01:04:42,269 --> 01:04:43,531
from this time onward.

1195
01:04:43,575 --> 01:04:47,492
♪

1196
01:04:51,496 --> 01:04:53,411
The project,
as it develops,

1197
01:04:54,629 --> 01:04:56,283
confines
Muybridge a little bit,

1198
01:04:57,458 --> 01:04:59,547
because the professors
are working with him.

1199
01:04:59,591 --> 01:05:01,854
The professors
are sending him,

1200
01:05:01,898 --> 01:05:05,423
uh, the people
that they want photographed.

1201
01:05:08,469 --> 01:05:11,429
[Amy] These are all
white men making decisions

1202
01:05:11,472 --> 01:05:13,213
about who they're
going to photograph

1203
01:05:13,257 --> 01:05:14,954
and what they're
going to photograph

1204
01:05:14,998 --> 01:05:16,216
and what these people
are going to be doing.

1205
01:05:20,829 --> 01:05:22,962
If you're a man,
you're going to be photographed

1206
01:05:23,006 --> 01:05:24,355
as an athlete,

1207
01:05:24,398 --> 01:05:27,401
performing amazing feats

1208
01:05:27,445 --> 01:05:29,751
of flexibility
and strength.

1209
01:05:30,361 --> 01:05:34,843
[reel rattling]

1210
01:05:34,887 --> 01:05:38,325
[whimsical music]

1211
01:05:38,369 --> 01:05:40,197
Women are asked

1212
01:05:40,240 --> 01:05:42,851
to do things
like move gracefully...

1213
01:05:42,895 --> 01:05:47,073
♪

1214
01:05:47,117 --> 01:05:49,293
... carry buckets of water.

1215
01:05:49,336 --> 01:05:51,773
Often they're
asked to do things

1216
01:05:51,817 --> 01:05:53,688
that refer
to domestic tasks.

1217
01:05:53,732 --> 01:05:58,476
♪

1218
01:05:58,519 --> 01:06:03,481
[playful music]

1219
01:06:03,524 --> 01:06:05,874
The male models include

1220
01:06:05,918 --> 01:06:09,791
University of Pennsylvania
student athletes and alumni.

1221
01:06:09,835 --> 01:06:14,840
♪

1222
01:06:14,883 --> 01:06:17,103
The reason that
those upper class students

1223
01:06:17,147 --> 01:06:19,714
were not afraid
to pose in the nude

1224
01:06:19,758 --> 01:06:21,499
was because
they weren't vulnerable.

1225
01:06:24,589 --> 01:06:26,330
The women
in the photographs

1226
01:06:26,373 --> 01:06:27,548
were vulnerable.

1227
01:06:32,989 --> 01:06:37,123
The women who posed
for Muybridge in the nude

1228
01:06:37,167 --> 01:06:40,431
all came
from these ranks

1229
01:06:40,474 --> 01:06:42,433
of working class women
who didn't have a lot

1230
01:06:42,476 --> 01:06:43,912
of employment opportunities.

1231
01:06:50,354 --> 01:06:53,487
Then at the far end,
we have women

1232
01:06:53,531 --> 01:06:56,055
who would not be,
in any way,

1233
01:06:56,099 --> 01:06:59,189
respectable and polite
middle class society.

1234
01:07:00,407 --> 01:07:01,800
Muybridge's models were--

1235
01:07:02,888 --> 01:07:04,324
some of them,
and especially the ones

1236
01:07:04,368 --> 01:07:05,934
that-- that carry

1237
01:07:05,978 --> 01:07:08,067
the, uh,
erotic content of the word--

1238
01:07:08,111 --> 01:07:09,155
artist's models.

1239
01:07:11,592 --> 01:07:14,291
Artist models
were no better than,

1240
01:07:14,334 --> 01:07:15,944
or, prostitutes.

1241
01:07:19,818 --> 01:07:22,342
Muybridge,
really, his attraction

1242
01:07:22,386 --> 01:07:24,823
is to the naked women
and to the frozen water.

1243
01:07:25,911 --> 01:07:27,739
That is
what Muybridge is,

1244
01:07:27,782 --> 01:07:30,176
where his interests lie.

1245
01:07:30,220 --> 01:07:34,224
[tense orchestral music]

1246
01:07:34,267 --> 01:07:37,401
So, you have class,
you have race, you have gender.

1247
01:07:38,619 --> 01:07:39,620
Is there
anything else you need?

1248
01:07:40,317 --> 01:07:43,233
[quirky music]

1249
01:07:51,241 --> 01:07:52,894
[Amy] And then
there are scenes

1250
01:07:52,938 --> 01:07:54,809
that really
don't make any sense

1251
01:07:54,853 --> 01:07:56,333
from a scientific perspective.

1252
01:07:59,162 --> 01:08:01,816
[Marta] This is supposed
to be a scientific project,

1253
01:08:01,860 --> 01:08:04,036
it's funded
as a scientific project.

1254
01:08:04,080 --> 01:08:06,386
When you read
the history of photography,

1255
01:08:06,430 --> 01:08:08,736
Muybridge
is always the great creator

1256
01:08:08,780 --> 01:08:10,390
of the study
of locomotion.

1257
01:08:13,045 --> 01:08:17,049
Hmm. What movement
is being described here?

1258
01:08:17,093 --> 01:08:19,486
What are the laws
of locomotive mechanics?

1259
01:08:23,447 --> 01:08:26,145
[Amy] Certainly,
William Pepper never imagined

1260
01:08:26,189 --> 01:08:29,192
that Muybridge
was going to try

1261
01:08:29,235 --> 01:08:30,976
to make funny pictures.

1262
01:08:31,019 --> 01:08:33,021
It was definitely
not in the mission statement,

1263
01:08:33,065 --> 01:08:35,154
but it's in there.

1264
01:08:35,198 --> 01:08:39,898
♪

1265
01:08:44,946 --> 01:08:46,774
[Thomas] You know,
all those strange images

1266
01:08:46,818 --> 01:08:48,820
of naked women
having tea parties.

1267
01:08:49,473 --> 01:08:51,083
What are those?

1268
01:08:51,127 --> 01:08:53,651
He-- he had no idea
what surrealism was,

1269
01:08:53,694 --> 01:08:54,869
you know,
and I don't think he thought

1270
01:08:54,913 --> 01:08:56,262
they were
funny or bizarre,

1271
01:08:56,306 --> 01:08:57,437
but they are.

1272
01:09:00,397 --> 01:09:01,615
[Marta]
Jokes, these are jokes.

1273
01:09:01,659 --> 01:09:03,008
These are fantasies.

1274
01:09:03,051 --> 01:09:04,531
Most of all,
they're stories.

1275
01:09:05,402 --> 01:09:06,620
It's the content...

1276
01:09:08,056 --> 01:09:09,971
of what will become

1277
01:09:10,015 --> 01:09:11,843
the industry
of motion pictures.

1278
01:09:12,496 --> 01:09:14,237
Stories and sex.

1279
01:09:15,238 --> 01:09:16,587
That's it,
that's Muybridge's

1280
01:09:16,630 --> 01:09:18,066
contribution
to motion pictures.

1281
01:09:18,850 --> 01:09:22,288
It's the fantasy
that we all know

1282
01:09:22,332 --> 01:09:23,811
from the movies,

1283
01:09:23,855 --> 01:09:25,117
that we all
go to the movies for.

1284
01:09:25,161 --> 01:09:29,295
-[reel rattling]
-[gentle melody playing]

1285
01:09:34,300 --> 01:09:35,736
He's a rulebreaker.

1286
01:09:35,780 --> 01:09:38,522
He doesn't get
the accolades

1287
01:09:38,565 --> 01:09:41,133
for his inventiveness,

1288
01:09:41,177 --> 01:09:44,092
for his ability
to do what he wanted to do,

1289
01:09:44,963 --> 01:09:47,487
even under
the watchful eyes

1290
01:09:47,531 --> 01:09:49,141
of a committee

1291
01:09:49,185 --> 01:09:50,273
that really
didn't want him to do that.

1292
01:09:54,015 --> 01:09:57,149
Muybridge, the artist,
and Muybridge, the scientist,

1293
01:09:58,150 --> 01:09:59,630
what he produces
with the conflation

1294
01:09:59,673 --> 01:10:01,893
of those two things,

1295
01:10:01,936 --> 01:10:04,896
to me, is really
the true work of art.

1296
01:10:04,939 --> 01:10:06,941
A true work of genius.

1297
01:10:06,985 --> 01:10:10,728
[sentimental
orchestral music]

1298
01:10:23,306 --> 01:10:30,138
♪

1299
01:10:44,370 --> 01:10:50,115
♪

1300
01:10:50,158 --> 01:10:51,986
[music fades out]

1301
01:10:54,162 --> 01:10:56,513
When I think
about the choice

1302
01:10:56,556 --> 01:10:59,211
that William Pepper made

1303
01:10:59,255 --> 01:11:01,779
to forge on
with Muybridge's project,

1304
01:11:01,822 --> 01:11:04,564
even including
the photographs

1305
01:11:04,608 --> 01:11:06,784
that have
somewhat provocative,

1306
01:11:06,827 --> 01:11:08,960
and clearly
unscientific themes,

1307
01:11:09,003 --> 01:11:11,484
I think about
how far deep he was in,

1308
01:11:11,528 --> 01:11:14,226
in terms
of his own reputation

1309
01:11:14,270 --> 01:11:16,097
and the reputation
of the university.

1310
01:11:16,881 --> 01:11:18,143
There was
no turning back.

1311
01:11:18,186 --> 01:11:21,668
It would have been
such an admission

1312
01:11:21,712 --> 01:11:23,148
of poor judgment.

1313
01:11:25,237 --> 01:11:28,414
They decided
to just hold their nose

1314
01:11:28,458 --> 01:11:29,850
and keep insisting

1315
01:11:29,894 --> 01:11:31,635
that this
was a scientific project.

1316
01:11:31,678 --> 01:11:33,898
And the decision
that's made in 1886

1317
01:11:33,941 --> 01:11:35,726
is basically to go ahead

1318
01:11:35,769 --> 01:11:37,815
with the publication
and distribution,

1319
01:11:37,858 --> 01:11:40,165
but to market them
in a way

1320
01:11:40,208 --> 01:11:41,949
that they would
only be accessible

1321
01:11:41,993 --> 01:11:44,038
by very rich people

1322
01:11:44,082 --> 01:11:46,519
in limited circulation,

1323
01:11:46,563 --> 01:11:48,260
thereby
pretty much guaranteeing

1324
01:11:48,304 --> 01:11:50,175
that only
wealthy white men

1325
01:11:50,218 --> 01:11:51,785
would ever see
these photographs.

1326
01:11:51,829 --> 01:11:55,702
♪

1327
01:11:56,790 --> 01:11:58,357
She has this kind of--

1328
01:11:58,401 --> 01:12:00,272
He's-- he's
outlined her boobs.

1329
01:12:00,925 --> 01:12:03,797
He's taken an instrument
to outline certain things,

1330
01:12:03,841 --> 01:12:06,365
to add shade to certain things
that are missing.

1331
01:12:06,409 --> 01:12:08,367
I mean, there's all sorts
of things you can see

1332
01:12:08,411 --> 01:12:10,978
about the process
and about the pictures here

1333
01:12:11,022 --> 01:12:12,763
that...

1334
01:12:12,806 --> 01:12:15,331
again, support this idea
of how manipulated it was.

1335
01:12:18,899 --> 01:12:20,031
Some
of the pictures he took

1336
01:12:20,074 --> 01:12:22,990
are just
single images of poses

1337
01:12:23,034 --> 01:12:25,602
which he put
into a sequence.

1338
01:12:28,344 --> 01:12:31,042
And sometimes not even
a sequence of movement,

1339
01:12:31,085 --> 01:12:32,391
it's the sequence
of a pattern.

1340
01:12:32,435 --> 01:12:36,221
[playful violin music]

1341
01:12:37,962 --> 01:12:39,050
[Marta] This is called,

1342
01:12:39,093 --> 01:12:40,399
Woman Dropping a Handkerchief.

1343
01:12:41,748 --> 01:12:43,707
The position
of the handkerchief

1344
01:12:45,099 --> 01:12:47,014
in this image,
and in this image,

1345
01:12:47,058 --> 01:12:48,320
is not the same.

1346
01:12:49,147 --> 01:12:50,931
It didn't happen
at the same time.

1347
01:12:51,758 --> 01:12:53,891
[interviewer] Do you think
it's being sold as the same,

1348
01:12:53,934 --> 01:12:55,283
like,
we're meant to think that?

1349
01:12:55,327 --> 01:12:56,415
[Marta] Of course.

1350
01:12:56,459 --> 01:12:57,677
You know
that the sequence

1351
01:12:57,721 --> 01:12:58,852
tells you how to look,

1352
01:12:58,896 --> 01:13:00,288
so you never question it.

1353
01:13:01,464 --> 01:13:04,423
You have to really look.

1354
01:13:04,467 --> 01:13:05,511
[interviewer]
Is it a deception?

1355
01:13:07,818 --> 01:13:09,254
[Marta sighs]

1356
01:13:09,297 --> 01:13:10,255
Is it the truth?

1357
01:13:11,387 --> 01:13:12,475
The truth of what?

1358
01:13:12,518 --> 01:13:17,567
♪

1359
01:13:20,352 --> 01:13:23,181
This picture is called,
La Libertad, El Salvador,

1360
01:13:23,224 --> 01:13:25,313
and like many
of Muybridge's photographs,

1361
01:13:25,357 --> 01:13:28,055
it has a figure
positioned somewhere,

1362
01:13:28,099 --> 01:13:29,840
partly for scale.

1363
01:13:29,883 --> 01:13:31,450
It also has
some details,

1364
01:13:31,494 --> 01:13:33,974
like a little rip
in the emulsion

1365
01:13:34,018 --> 01:13:36,281
where you can
see part of the picture

1366
01:13:36,324 --> 01:13:38,544
literally
peeling away from the glass.

1367
01:13:38,588 --> 01:13:40,764
There are
some specks and spots

1368
01:13:40,807 --> 01:13:41,765
throughout the scene.

1369
01:13:42,418 --> 01:13:44,376
And normally,
these are details

1370
01:13:44,420 --> 01:13:46,552
that you wouldn't pay
that much attention to.

1371
01:13:47,379 --> 01:13:49,642
But when I looked
at this picture,

1372
01:13:49,686 --> 01:13:52,732
I was looking for those
kinds of telltale signs

1373
01:13:52,776 --> 01:13:54,778
that would
indicate the uniqueness

1374
01:13:54,821 --> 01:13:56,910
of this actual picture,

1375
01:13:56,954 --> 01:13:59,391
so that when I would
look at a photograph

1376
01:13:59,435 --> 01:14:01,698
that existed
in another album,

1377
01:14:01,741 --> 01:14:04,483
I could see
a different view.

1378
01:14:04,527 --> 01:14:05,745
And I could know

1379
01:14:05,789 --> 01:14:07,878
that this same
landscape picture

1380
01:14:07,921 --> 01:14:10,924
with the torn negative
also revealed a picture

1381
01:14:10,968 --> 01:14:12,578
that included clouds,

1382
01:14:12,622 --> 01:14:15,494
and a fictional horizon

1383
01:14:15,538 --> 01:14:18,497
that showed
mountain peaks in the scene.

1384
01:14:18,541 --> 01:14:21,326
And so, these
two pictures side by side

1385
01:14:21,369 --> 01:14:23,502
are what I call, La Libertad,

1386
01:14:23,546 --> 01:14:25,896
basic and deluxe versions.

1387
01:14:25,939 --> 01:14:31,249
♪

1388
01:14:33,947 --> 01:14:35,601
There is an element of--

1389
01:14:36,210 --> 01:14:37,995
I don't know
if I would call it

1390
01:14:38,038 --> 01:14:40,258
whimsy or playfulness.

1391
01:14:43,740 --> 01:14:46,699
There are particular clouds
that he liked to use

1392
01:14:46,743 --> 01:14:47,700
over and over again.

1393
01:14:47,744 --> 01:14:53,227
♪

1394
01:15:04,238 --> 01:15:10,810
♪

1395
01:15:11,463 --> 01:15:13,421
When I first looked

1396
01:15:13,465 --> 01:15:15,728
at The Crater of Volcano,
Quetzaltenango, I laughed.

1397
01:15:15,772 --> 01:15:17,600
It was as-- an absurd picture,

1398
01:15:17,643 --> 01:15:19,427
it was a construction,
a fabrication.

1399
01:15:23,040 --> 01:15:27,044
I came to appreciate
that one picture

1400
01:15:27,087 --> 01:15:29,394
maybe more
than any of the others,

1401
01:15:29,437 --> 01:15:32,266
because it has
a falseness to it,

1402
01:15:32,310 --> 01:15:34,747
which makes it
a little bit more believable.

1403
01:15:34,791 --> 01:15:36,619
It doesn't hide behind...

1404
01:15:40,840 --> 01:15:42,538
a fiction of pretending

1405
01:15:42,581 --> 01:15:44,844
to be an accurate
representation of a moment.

1406
01:15:48,544 --> 01:15:50,676
Muybridge's photographs
in Central America,

1407
01:15:50,720 --> 01:15:52,460
and in some ways,
all of his work,

1408
01:15:52,504 --> 01:15:54,550
are more like poems,

1409
01:15:54,593 --> 01:15:57,335
and less like precise,
accurate descriptions

1410
01:15:57,378 --> 01:15:59,163
of something
that happened in the world.

1411
01:16:01,644 --> 01:16:03,646
[Philip] At the time
Muybridge is doing this,

1412
01:16:03,689 --> 01:16:05,430
the manipulation
of photographs

1413
01:16:05,473 --> 01:16:06,910
was really open and prevalent.

1414
01:16:07,780 --> 01:16:09,434
Photographers
did it all the time.

1415
01:16:09,477 --> 01:16:11,610
You know,
we have to always be vigilant

1416
01:16:11,654 --> 01:16:13,090
in looking
at photography

1417
01:16:13,133 --> 01:16:15,048
about, you know,
whether what we're seeing

1418
01:16:15,092 --> 01:16:18,312
is actually right
and-- and truthful.

1419
01:16:24,710 --> 01:16:26,494
What's so interesting

1420
01:16:26,538 --> 01:16:28,671
about Muybridge's
photograph of the Modoc warrior

1421
01:16:28,714 --> 01:16:31,543
is that it is represented

1422
01:16:31,587 --> 01:16:33,458
as a journalistic photograph,

1423
01:16:33,501 --> 01:16:34,677
as the news.

1424
01:16:36,853 --> 01:16:39,290
But when you look closely,

1425
01:16:39,333 --> 01:16:42,336
you can see that
the Native American man

1426
01:16:43,381 --> 01:16:45,513
is actually
holding a military rifle

1427
01:16:45,557 --> 01:16:47,907
and it's not, in fact,
a Modoc warrior at all.

1428
01:16:47,951 --> 01:16:51,345
It's a Warm Springs scout
helping the US Army.

1429
01:16:53,130 --> 01:16:55,480
Muybridge himself,
he couldn't go to the front,

1430
01:16:55,523 --> 01:16:58,701
and so he had to
stage a photograph.

1431
01:16:58,744 --> 01:17:01,529
So, in fact, Muybridge
is deceiving the viewer.

1432
01:17:03,706 --> 01:17:06,186
He-- he was not going to
go to that encampment

1433
01:17:07,231 --> 01:17:09,450
and return to San Francisco

1434
01:17:09,494 --> 01:17:10,713
without picture.

1435
01:17:10,756 --> 01:17:13,933
And so,
he dressed a guy up

1436
01:17:15,761 --> 01:17:19,243
as a Modoc warrior,

1437
01:17:20,766 --> 01:17:23,334
and posed him
with a gun on a wall.

1438
01:17:25,423 --> 01:17:26,554
I mean,
that's dress-up.

1439
01:17:27,338 --> 01:17:28,992
That's directing.

1440
01:17:29,035 --> 01:17:30,341
"I want what I want."

1441
01:17:30,384 --> 01:17:35,651
♪

1442
01:17:35,694 --> 01:17:37,696
[Marta] The contract
between the viewer

1443
01:17:37,740 --> 01:17:40,743
and the photographer,
that seeing is believing,

1444
01:17:42,005 --> 01:17:45,269
is-- is not-- does not
hold in Muybridge's work.

1445
01:17:46,183 --> 01:17:47,706
[interviewer]
Seeing is not believing.

1446
01:17:47,750 --> 01:17:48,620
No.

1447
01:17:49,665 --> 01:17:51,101
You cannot
believe what you see.

1448
01:17:51,144 --> 01:17:54,974
[transcendent vocal music]

1449
01:17:55,018 --> 01:17:56,236
[Thomas]
Leland Stanford says,

1450
01:17:56,889 --> 01:17:59,239
you know,
the machine cannot lie.

1451
01:17:59,283 --> 01:18:01,938
You know, the machine
just records what's there.

1452
01:18:02,765 --> 01:18:04,157
What I would
say about that is,

1453
01:18:04,201 --> 01:18:06,333
of course it can't lie,

1454
01:18:06,377 --> 01:18:07,900
but it can't tell
the truth either.

1455
01:18:07,944 --> 01:18:09,423
Machines
don't say anything.

1456
01:18:10,773 --> 01:18:12,557
It's only how people

1457
01:18:12,600 --> 01:18:16,474
present the image
of the machine, the photograph,

1458
01:18:16,517 --> 01:18:19,172
that is either
a lie or a truth.

1459
01:18:19,216 --> 01:18:22,785
[gentle orchestral music]

1460
01:18:32,795 --> 01:18:34,274
[Marta]
We have letters

1461
01:18:35,406 --> 01:18:37,756
back to Philadelphia
from Muybridge,

1462
01:18:37,800 --> 01:18:39,236
who's on the road

1463
01:18:39,279 --> 01:18:42,761
trying to sell
Animal Locomotion.

1464
01:18:42,805 --> 01:18:45,851
And he tries
for a few years

1465
01:18:45,895 --> 01:18:48,549
in order, uh,
to-- to make it work.

1466
01:18:48,593 --> 01:18:50,203
And he just doesn't.

1467
01:18:50,247 --> 01:18:52,031
He-- he sold maybe

1468
01:18:52,075 --> 01:18:55,034
37 full copies,
as far as we know.

1469
01:18:55,078 --> 01:18:56,993
Don't know
how many single images

1470
01:18:57,036 --> 01:18:58,951
or groups
of a hundred he sold,

1471
01:18:58,995 --> 01:19:03,042
but it-- it
wasn't a-- a commercial success

1472
01:19:03,086 --> 01:19:04,043
by any means.

1473
01:19:04,087 --> 01:19:09,048
♪

1474
01:19:10,267 --> 01:19:14,445
[transcendent vocal music]

1475
01:19:19,842 --> 01:19:22,888
He then has a booth
at the Chicago World's Fair

1476
01:19:22,932 --> 01:19:25,499
that is also
not a success.

1477
01:19:27,110 --> 01:19:29,503
Muybridge
showed his zoopraxiscope,

1478
01:19:29,547 --> 01:19:31,070
but he couldn't compete

1479
01:19:31,114 --> 01:19:32,898
with the hoochie coochie girl

1480
01:19:32,942 --> 01:19:34,073
down the street.

1481
01:19:38,382 --> 01:19:41,777
[Gary] An old man
with a beard turning a handle

1482
01:19:41,820 --> 01:19:43,953
these horses
going around in a circle...

1483
01:19:45,084 --> 01:19:46,694
I don't know,
might be boring

1484
01:19:46,738 --> 01:19:48,479
the pants off you,
talking about...

1485
01:19:50,263 --> 01:19:51,395
you know...

1486
01:19:52,570 --> 01:19:56,008
[posh accent] "When the left
fore foot is 85 inches,

1487
01:19:56,052 --> 01:19:59,011
the right hand foot
on the vertical line--"

1488
01:19:59,055 --> 01:20:01,709
I-- I-- I mean,
maybe these lectures

1489
01:20:02,885 --> 01:20:06,714
had... run their course.

1490
01:20:06,758 --> 01:20:10,501
♪

1491
01:20:13,460 --> 01:20:16,159
[reel whirring]

1492
01:20:20,076 --> 01:20:23,383
[Marta]
December 1895 and 1896,

1493
01:20:23,427 --> 01:20:26,169
we have
the motion picture projection

1494
01:20:26,212 --> 01:20:27,344
of the Lumiere brothers,

1495
01:20:28,388 --> 01:20:30,129
the beginning
of the motion picture industry,

1496
01:20:30,173 --> 01:20:31,783
and of course,
that leaves Muybridge

1497
01:20:31,827 --> 01:20:33,524
completely,
completely behind.

1498
01:20:34,351 --> 01:20:35,613
So, he sets
sail for home.

1499
01:20:37,920 --> 01:20:39,878
Muybridge,
toward the end of his life

1500
01:20:39,922 --> 01:20:41,575
when he went
back to Kingston,

1501
01:20:41,619 --> 01:20:43,142
you know,
he felt like a failure

1502
01:20:43,186 --> 01:20:45,928
because he didn't really
get credited for innovation,

1503
01:20:45,971 --> 01:20:47,973
you know, the development
of the motion picture.

1504
01:20:50,149 --> 01:20:51,847
[Marta] He tells Lafeber,

1505
01:20:51,890 --> 01:20:55,676
the painter
who colored his glass discs,

1506
01:20:56,590 --> 01:20:57,591
to destroy the disks

1507
01:20:58,636 --> 01:21:01,900
so that he will
not be associated

1508
01:21:01,944 --> 01:21:03,510
with the zoopraxiscope.

1509
01:21:03,554 --> 01:21:07,732
[somber music]

1510
01:21:07,775 --> 01:21:09,777
I think he is still...

1511
01:21:11,170 --> 01:21:14,086
conscious of the name
he made for himself,

1512
01:21:14,130 --> 01:21:16,001
and he doesn't want
to be associated

1513
01:21:16,045 --> 01:21:19,657
with the technology
that really doesn't lead

1514
01:21:19,700 --> 01:21:23,182
to the motion pictures, uh,
that were on the world stage

1515
01:21:23,226 --> 01:21:24,401
at that point.

1516
01:21:24,444 --> 01:21:26,490
[dripping]

1517
01:21:31,974 --> 01:21:33,976
[Gary] He's diagnosed
with prostate cancer.

1518
01:21:36,717 --> 01:21:38,937
It's like
he didn't know what he had.

1519
01:21:38,981 --> 01:21:40,634
It was like
he went out there one day,

1520
01:21:42,071 --> 01:21:43,855
took a great,
big box of plates,

1521
01:21:44,987 --> 01:21:45,813
um...

1522
01:21:47,380 --> 01:21:50,122
You know, he's like,
going through his things

1523
01:21:50,166 --> 01:21:51,254
and saying,
"Oh, that's not good.

1524
01:21:51,994 --> 01:21:54,692
Chuck that out,
oh, that's crap," you know?

1525
01:21:56,781 --> 01:21:59,436
And anything
that could be left behind

1526
01:21:59,479 --> 01:22:00,916
that wasn't up to snuff,

1527
01:22:02,482 --> 01:22:04,832
I think he just smashed it,
he just chucked.

1528
01:22:04,876 --> 01:22:08,184
[sentimental piano music]

1529
01:22:08,880 --> 01:22:10,708
[Marta] In 1904,
when Muybridge dies,

1530
01:22:11,709 --> 01:22:14,103
he dies in a world
utterly changed.

1531
01:22:16,888 --> 01:22:19,151
Muybridge
has become forgotten.

1532
01:22:19,195 --> 01:22:23,808
♪

1533
01:22:23,851 --> 01:22:25,897
[birds chirping]

1534
01:22:25,941 --> 01:22:27,986
[footsteps crunching]

1535
01:22:36,038 --> 01:22:37,213
[Gary] Here we are.

1536
01:22:38,605 --> 01:22:39,737
[exhaling]

1537
01:22:41,391 --> 01:22:42,479
[grunts]

1538
01:22:46,439 --> 01:22:49,660
Mr. Muybridge.

1539
01:22:57,276 --> 01:22:58,451
All right.

1540
01:23:00,149 --> 01:23:01,063
Let's--

1541
01:23:03,543 --> 01:23:07,330
[gentle music]

1542
01:23:07,373 --> 01:23:08,984
"Loving memory..."

1543
01:23:16,904 --> 01:23:19,516
"In loving memory
of Eadweard..."

1544
01:23:26,218 --> 01:23:27,393
Eadweard.

1545
01:23:30,179 --> 01:23:31,571
"Loving memory--

1546
01:23:31,615 --> 01:23:34,444
Eadweard Maybridge..."

1547
01:23:34,487 --> 01:23:36,881
M-A-Y.

1548
01:23:38,404 --> 01:23:39,623
Oh, the indignity

1549
01:23:40,798 --> 01:23:42,626
that you suffered.
Betrayal and...

1550
01:23:43,801 --> 01:23:44,802
and even in death...

1551
01:23:46,412 --> 01:23:47,805
they got
your name wrong.

1552
01:23:48,893 --> 01:23:50,112
You poor soul.

1553
01:23:50,155 --> 01:23:52,984
[sentimental piano music]

1554
01:23:53,028 --> 01:23:58,946
♪

1555
01:24:11,742 --> 01:24:18,531
♪

1556
01:24:38,160 --> 01:24:44,601
♪

1557
01:25:04,447 --> 01:25:10,844
♪

1558
01:25:22,073 --> 01:25:25,250
["Lemon" by U2]

1559
01:25:28,253 --> 01:25:29,472
♪ Oh

1560
01:25:31,909 --> 01:25:34,912
[mysterious orchestral music]

1561
01:25:45,270 --> 01:25:51,972
♪

1562
01:25:53,496 --> 01:25:55,976
... time is gonna be unstable?
What does that even mean?

1563
01:26:05,856 --> 01:26:09,903
[dramatic action music]

1564
01:26:26,311 --> 01:26:32,099
♪

1565
01:26:39,759 --> 01:26:46,288
♪

1566
01:27:04,306 --> 01:27:10,921
♪

1567
01:27:30,680 --> 01:27:37,295
♪

1568
01:28:00,623 --> 01:28:07,282
♪

1569
01:28:24,255 --> 01:28:31,044
♪

1570
01:28:45,624 --> 01:28:47,017
[music ends]