Just as between the two covers of a magazine artistic stories stand side by side with instructive essays, scientific articles, or discussions of the events of the day, the photoplay is accompanied by a kinematoscopic rendering of reality in all its aspects.
Whatever in nature or in social life interests the human understanding or human curiosity comes to the mind of the spectator with an incomparable intensity when not a lifeless photograph but a moving picture brings it to the screen.
The happenings of the day afford the most convenient material, as they offer the chance for constantly changing programmes and hence the ideal conditions for a novelty seeking public.

No actors are needed; the dramatic interest is furnished by the political and social importance of the events.

In the early days when the great stages for the production of photoplays had not been built, the moving picture industry relied in a much higher degree than today on this supply from the surrounding public life.

But while the material was abundant, it soon became rather insipid to see parades and processions and orators, and even where the immediate interest seemed to give value to the pictures it was for the most part only a local interest and faded away after a time.

The coronation of the king or the inauguration of the president, the earthquake in Sicily, the great Derby, come, after all, too seldom.
Moreover through the strong competition only the first comer gained the profits and only the most sensational dashes of kinematographers with the reporter's instinct could lead to success in the eyes of the spoiled moving picture audiences.
Certainly the history of these enterprises is full of adventures worthy to rank with the most daring feats in the newspaper world.