天文学院院长（乔治·梅里爱 Georges Méliès 饰）在一次会议上提出天马行空的月球旅行计划。他和另五名大胆的天文学家监制出了炮弹舱和大炮，并在军队的帮助下乘坐炮弹舱顺利登月。兴奋过后六名天文学家精疲力竭的在月球表面睡去，浑然不知许多星星悄然观察着他们熟睡的样貌。最后一场寒冷的降雪唤醒了他们。众人躲藏到地洞中却不慎用雨伞惊扰了月球人，于是一场慌乱的冒险开始了……
本片是科幻电影的开山之作，灵感来源于儒勒·凡尔纳的小说《从地球到月球》和H·G·威尔斯的小说《最早登上月球的人》。影片于1902年发行了黑白版和手绘彩版，全长约14分钟。后结局与彩版一度失传。1993年，受损严重的彩版拷贝被私人收藏家捐赠给西班牙巴塞罗那电影资料馆；2002年，结局“凯旋而归”在法国被重新发现。影片修复计划持续十余年。
2011年，影片的彩色完整修复版在戛纳电影节首映，以纪念梅里爱诞辰150周年，此时距离影片问世亦已过去109年。

Porter's sequential continuity editing links several shots to form a narrative of firemen responding to a house fire. They leave the station with their horse drawn pumper, arrive on the scene, and effect the safe rescue of a woman from the burning house. But wait, she tells them of her child yet asleep in the burning bedroom . . .

Daring Daylight Burglary (1903) was a fast-paced crime thriller that was the first of many chase films with which the Sheffield Photo Company established an international reputation.
Compared with other British films of the period, the pacing is unusually rapid and the narrative is surprisingly sophisticated - particularly its use of a revenge motive (the policeman avenging his badly injured comrade), which viewers of just about any current action thriller will immediately recognise as a key ingredient of the genre.
Admittedly, this in itself is not much of an advance on William Haggar's Desperate Poaching Affray (made the same year), but this and other elements, such as the use of a wide range of contrasting locations, show that director Frank Mottershaw was keen to make his film as visually and dramatically appealing as he could given the limitations of the basic story.
While R.W.Paul was making use of the jump cut as the main focus of films like Extraordinary Cab Accident (1903), here it's just one technique among many, as the policeman is quickly substituted by a dummy as he's hurled off the roof by the burglar. Camera placement and editing are consistently intelligent, with Mottershaw often cutting on action to ensure maximum dramatic impact.
The film was shot in three days at a cost of £25, and the British rights were sold to the Charles Urban Company for £50. It was enormously successful both in Britain and abroad: between 500 and 600 copies were sold, including an American order for 100 copies (it was extensively pirated in the US). It was also a major influence on Edwin S Porter's classic The Great Train Robbery (1903), the film said to have originated the American action movie.

A nude couple pose in an art studio on a square rug, while the camera does a circular traveling around them; the woman has her right knee on the floor and her right arm raised in front of her face, holding the man's thighs with her right, while the man is bent forward, as if looking in the distance.

两名强盗闯进一个火车站电报室内，强迫电报员给火车发出信号，后又将电报员捆绑起来。火车驶近后，强盗们偷偷地溜上火车。随后，强盗们逼停了火车，把车上的乘客都赶下了火车，将他们的钱财搜刮一空。得手后，四名强盗逃至草原分赃。而与此同时，一个小女孩救下了电报员，电报员随即赶到警察局报案。一批警察开始追击强盗，双方在草原上展开了猛烈火拼，最终四名强盗被一一击毙。
《火车大劫案》根据1900年发生在美国的一个真实抢劫事件改编，影片用14个场面镜头讲述了一个较为复杂的故事，是鲍特拍摄的第一部西部片。本片成为当时最受观众欢迎的影片，持续上映了十年。这部作品给美国电影带来一股新的“西部风”，西部片因此逐渐繁荣起来。

两个简单的场景，而张扬，穿着爱德华七世时代的小孩试图喂一勺药给生病的小猫。这部电影是对是最早的电影之一，切到特写，然后再回到同样的中景的编剧迈克尔·布鲁克之前重要{} [email protected]

The Impossible Voyage (Voyage à travers l'impossible) is a 1904 silent film (produced by Star Film, France) by pioneer filmmaker Georges Méliès. The film's time is about 20 minutes (nearly five times the length of the average film at that time), and probably was inspired by Melies' successful earlier film Le Voyage dans la Lune (A Trip to the Moon). It is loosely based on Jules Verne's play Voyage à travers l'impossible. Like most of Méliès' films at this time, it made use of narrative, models, and trick photography.

Felix Mayol performs a song, in colour.

由罗孚营救是一个关于狗的电影。它不仅是一部关于一只狗它也是一个年轻的婴儿由一个老女人的绑架电影。有了这两个经典的好莱坞成分和一些惊人的对话，（这是无语！），由罗孚营救真的击中神经。重复的镜头提供什么，奇怪的是，早电影院，犬的神勇表现和一个男人穿着睫毛膏的一个有趣的例子一些兴趣。

A short film of the tale of Mother Holly.

While lacking the grandeur and narrative technique of Sergei Eisenstein's Battleship Potemkin, this French film from Pathe makes a decent job of recreating key moments from the Russian revolution of 1905 in Odessa.
A dramatization of the uprising in Odessa, Russia in 1905: A ship's crew, tired of being mistreated, mutinies and takes over their ship. When they reach land, a sailor who died during the mutiny is made a martyr, inspiring an uprising in the city. Then the authorities decide to repress the revolt with a brutal show of force.

In a Japanese garden, gather maidens with nets to catch butterflies, all in the joy of life and budding maidenhood; fresh Irish sweetness of blithe Spring; the light fantastic toe "tripping" the limpid music arranged for this unique piece of art in a large cage a pretty colored butterfly is brought in, to delight the winsome maidens, who execute a pretty umbrella dance ere the poor butterflies are forced to entertain the merry group. Scenes are passed and the pretty butterfly is imprisoned again in the cage.

The proud owner of a new car in 1907 gets behind the wheel for the first time and weaves down the street, hitting everything from lamp-posts to market stalls and baby carriages. An ever-increasing crowd of incensed pursuers chases after him...

全球首部剧情片

In a strange grotto deep in the bowels of the earth a coffin uprights itself, dances, then opens, and out steps a demonic magician with skeletal face, horns, and cape. He wraps two women (who appear to be in a trance) in fabric, levitates them, and causes them to burst into flames and disappear. As he gathers their ashes in a pitcher a Good Spirit [a young woman who resembles Peter Pan] appears, shakes her head No, and reveals the "souls" of the two women in a secret compartment deeper within the cave. The Good Spirit vanishes in a puff of smoke. The magician then produces 3 glass bottles on pillars, takes them downstage close to the camera, and reveals 3 tiny women in them; one woman beats a tambourine while the other two sway. The magician pours ashes (?) into the bottles, but the Good Spirit reappears and makes these trapped figures disappear in a flash, angering the magician, who chases her away. He makes an easel appear. There is an odd sort of screen on it bearing the Pathe rooster logo. The magician then invents channel-surfing, causing three different "shows" to appear on the screen in rapid succession. The Good Spirit reappears and causes this strange television set to vanish, but the magician creates two more in turn, each more elaborate than the last, with various images of persons and dogs flashing across their screens. Finally, the Good Spirit reveals to the evil magician an area within the cave where there are four pillars and a tableau of distinguished-looking ladies (goddesses?). She takes the magician downstage, forces him to the ground, pours a pitcher of something on him (ashes? Holy water?) and turns him into a lifeless skeleton, which she reveals to the camera. Three tall flames appear in the foreground, and the film is over.

“Music Forward!” is the order given by a lady in Colonial costume, and in march a group of five musicians, working industriously at their instruments. The directress stands them in a row, and taking the head off each, throws it onto a huge music staff and each becomes a note of the scale. The whole bodies appear again, after which the manipulator seems to wrap them up in a large sheet of music, which is then shown to contain nothing. The paper is rolled up again, and a cane is held, perpendicularly, in a horizontal position to the sheet.

Two criminals lure a doctor away from his home with a phony note about a child's illness. After the doctor rushes off, the criminals break into his house and menace his wife and child. By the time the doctor realizes what has happened, his family faces a desperate situation.

A woodcutter says good-bye to his wife and child, and then goes off to work. After he has left, the mother leaves the child outside their cabin to play. Suddenly, an eagle swoops down and carries off the child. When the mother realizes what has happened, she runs to tell her husband. He and the other lumberjacks immediately set out to find and rescue the child.

影片表现的是亨利三世国王亲自策划刺杀吉斯公爵的故事。其中“血腥的暴行通过人们所最熟悉的故事来激动观众，即使不用语言，观众也能完全了解。”《吉斯公爵的被刺》“在电影艺术史上成为一部划时代的重要作品”，成为电影由杂耍向艺术过渡的重要标志，并给予格里菲斯等后来的电影导演以深刻的影响。
这部影片在电影艺术史上的意义在于：第一：它在演员的表演方面有很大的变革，首次进行了在银幕上表现人物的心理尝试，用人物的性格代替了电影中传统的手舞足蹈的动作。从这部影片成功以后，就开始了一个用名作家、名导演、高尚题材和富丽场景来拍摄影片的时代。第二：它第一次采用了圣·桑作曲的专门的伴奏音乐，包括序曲和为其中五个场面编配的五段音乐，每一段都配合影片情调。