Year 1904

Using every known means of transportation, several savants from the Geographic Society undertake a journey through the Alps to the Sun which finishes under the sea.

A magician conjures up a mermaid while fishing.

Buster Brown creater R.F. Outcault sketches his creation. Part of the Buster Brown series for Edison film studio.

The background of this picture represents a scene along the beautiful river Seine in Paris. A gentleman enters, and taking a blackboard from the side of the picture, he draws on it a sketch of a novelist. Then, standing in the centre, he causes the living features of his sketch to appear in the place of his own, which is utterly devoid of whiskers. The change is made so mysteriously that the eye cannot notice it until one sees quite another person in the place of the first. Again another sketch is shown on the board, this one being that of a miser; then an English cockney; a comic character; a French policeman, and last of all, the grinning visage of Mephistopheles. It is almost impossible to give this film a more definite description; suffice it to say that it is something entirely new in motion pictures and is sure to please. (Méliès Catalog)

Facing a stationary camera, sitting at a desk, a man works busily. Posters of burlesque queens are on the wall behind him. A single woman, followed later by later two others, comes into the office seeking a job. The manager hands each a box with a costume in it and points to dressing rooms. Each of the women has a different reaction when she discovers the nature of her costume, and the busy manager has a distinct response to each of the women as well.

As a conjurer awaits an audience, a procession announces the arrival of a royal representative, carried in a sedan chair, to see him. The conjurer then has a large box brought in. It is opened, revealing a very large folding fan. When the fan is spread out, the designs on it begin to change and move. And this is far from the last of the surprises that the conjurer has in store.

An actuality of the Brock's fireworks factory to celebrate its 40th anniversary organizes. The final shot has two flaming portraits of King Edward VII and Queen Alexandra, originally presented by Brock's at the coronation in 1902. The film is a cornucopia of colors, as it was originally a hand-painted film. The 2011 restoration has tried to revive the brilliance and the impact of colors through digital reproduction. The original film archival print is at the National Cinema Museum.

Opens with a woman posing on a pedestal, dressed in a white body leotard with a sash tied at her hips. Marshall continues with various feminine poses, reminiscent of classic Greek statuary, to accentuate her figure. Film cuts to Treloar posed on the bare stage without a pedestal. He wears brief leopard-skin trunks or short tunic, wrist bands, and Roman-looking laced sandals. His poses accentuate the muscular development of his upper body, particularly that of his arms, and include movements that make the muscles jump. Treloar finishes with a slight nod to the camera.

A large bucket full of molten material is poured into a large container, possibly a mold, by a group of men using machinery. Some other men stoke the fire under the container. When finished pouring, the men lift the bucket up from the container and take it away on a crane. Two men put prods down repeatedly into the container, while others lay covers on top of it.

A Chinese conjurer stands next to a table, it becomes two tables. A fan becomes a parasol, lanterns appear and disappear. The conjurer spins the open parasol in front of himself, and a dog leaps out from behind it. The dog becomes a woman, then a masked man appears. The conjurer sits them each on a box a few feet apart: suddenly the woman and man have changed places. The disappearing and the transfers continue in front of a simple backdrop.

A cook has his hands full with three mischievous devils, who pop in and out of his kitchen.

An inquisitor and two of his henchmen burn a woman at the stake. An angel intervenes.

A band of robbers are playing cards in the foreground of the picture. Suddenly one of the gang who has been on the lookout for the stage coach rides up in great haste. They quickly dodge behind a clump of trees and lay in wait. Soon the coach appears and is stopped by the bandits. The occupants are compelled to come down from their hiding places at the point of the gun and after being relieved of their valuables, are allowed to continue on their way. As soon as the stage drives off the robbers make for their ponies and take to the woods.

A brief vaudeville-style demonstration of a "Dog Transformator," a machine that instantly turns dogs into sausages, and amazingly, sausages back into dogs.

During a game of hide and seek, a new bride hides in a chest and remains undiscovered until a strange visitation thirty years later.

Chronophotograph record of a ball falling through a soap bubble.

Billy Bitzer filmed 21 short actualities inside the Pittsburgh Westinghouse Works in April and May of 1904. Audiences of the day would have been treated to footage of factory panoramas, women winding armatures and turbines being assembled. These industrial films were produced for the American Mutoscope & Biograph Company.

Documentary on the process of hay-making, from the cutting of the grass to the stacking of the hay.

In a public place in Constantinople at the corner of a bazaar, the executioner is seated upon a stone and is resting from his daily labors while eating a crust of bread. Suddenly there come running into the place a lot of Turkish men and women preceding some Turkish policemen, who drag along four prisoners in chains. The policemen shut up the four prisoners in the pillory. Their four heads stick up through the huge plank, which is provided with four openings. One of the policemen urges the executioner to decapitate the prisoners. He accordingly seizes a mighty sabre and cuts off by a single stroke the four heads, which roll upon the ground.

A turbine is shown operating.