Life of an American Fireman
R & K: Edwin S. Porter. P: Edison Manufacturing Co. USA 1902/03

Es handelt sich um die sog. Copyright Version des Films (Library of Congress). André Gaudreault unterscheidet zwischen dieser und der sog. Cross-Cut-Version (Museum of Modern Art),  die erste Ansätze zur Parallelmontage aufweist.  Die Frage der Zuschreibung und der Authentizität birgt ungelöste Probleme:

The “cross cut version”:

“This is no mere question of attributing priority or authorship to some film-maker, but of trying to determine the actual evolution of filmic expression: whether there was ever a time when film-makers did not know how to express the simultaneitry of two actions or whether this ability was inherent from the beginning; and of obtaining a clearer understanding of the relationship that exists between cinema and narrativity.”
André Gaudreault: Detours in Film Narrative. The Development of Cross-Cutting. In: Thomas Elsaesser with Adam Barker (ed.): Early Cinema: Space, Frame, Narrative. London 1990, p. 135

The Great Train Robbery
R: Edwin S. Porter. Kamera: Edwin S. Porter, James Blair Smith. P: Edison Manufacturing Co. USA 1903

Rube and Mandy at Coney Island
R: Edwin S. Porter. P: Edison Manufacturing Co. USA 1903

Coney Island, 14 years later:

Coney Island
R: Roscoe ‘Fatty’ Arbuckle. D: Roscoe ‘Fatty’ Arbuckle, Buster Keaton, Agnes Neilson. P: Comique Film Company. USA 1917

>>> Coney Island

TRAUM UND EXZESS, S. 136 f., S. 140 ff.