Visionary Picks In Alignment with the style of Elmer and Elsie: Cul...

Dir: Alexander Butler

In Alberta, Canada, a Cornish emigrant unmasks a rustler posing as the girl's "blind" father.

Dir: William Parke

A visual fragment from the archive: The thematic resonance of The Key to Power perfectly mirrors the editorial trajectory of our deep dive.

Bruce Wendell, the son of West Virginia coal mine owner James Wendell, graduates from West Point and prepares to lead a fighting unit to the front during World War I. As his father lies dying, however, he convinces Bruce to remain at home and guard the mine. Bruce's fiancée Ann Blair assumes that he is a coward and breaks off their engagement, but her brother Bobbie remains Bruce's loyal friend. Meyer, a German agent, persuades railroad president Parrish to refuse to transport Wendell's coal, but when Bruce adamantly refuses to close the mine, the spy's men decide to blow it up. While Ann is being abducted by Meyer, Bobbie is buried in an explosion at the mine. Bruce rescues Bobbie and then sends a plea to Lieutenant Parrish to rescue Ann. Meyer and his gang are captured and Ann renews her vow of love to Bruce.

Dir: Reggie Morris

A fascinating piece of cinema that shares thematic elements.

Dir: Gilbert Pratt

A visual fragment from the archive: The thematic resonance of Striking Models perfectly mirrors the editorial trajectory of our deep dive.

Honorable Mike O'Flannigan; duke of Dublin, and the Honorable Patrik O'Toole, count of Cork, touring the country, receive an invitation from their friend. Barney, to pay his two nieces a visit while in their town. Finding that her demand for rent meets with no response, the landlady collects her boarders clothes, Monty and Rock, two of the non-paying boarders, finding their clothes gone, steal the suits from two dummies which the second-handed clothes dealer had nought from a thief who had stolen them from the two Irish men, Pat and Mike, Dressed like "Beau Brummels" but without a cent to their name, the two, Monty and Rock, pose as the count and the duke, and call on the two nieces. Invited by the two girls to go to the cafe, the two accept with great willingness, it so happens that the two Irishmen go to the same cafe. Finding the bill, far, far above their expectations, and not being able to pay it, Joe manages to get the money from a "drunk", and is seen by the waiter who takes it from him, Monty seeing what is going on, picks the waiter's pocket, putting a salt cellar in its place. The ''drunk's" dog takes it from Monty's pocket and returns it to his master. Waiter discovering..how he has been fooled, chases them out. Meanwhile, Mike and Pat have discovered the girls, recognize them and go over to them, Monte and Rock return, and there is much comedy in their discovering the real duke and count, Mike and Pat start "some thing". In avoiding the count and duke, Monty and Rock come face to face with the landlady and the second-handed clothes dealer, who have suspended business for pleasure, and in the melee that follows, every one is hitting some one else, Monty manages to creep out, and is taking the girls out to the car to safety, where they meet Rock already in the car. Just as they are about to drive away, Mike and Pat who have "cleaned up" the crowd, come out, and start in pursuit of the car, which speeds away, the four looking out through the window of the hood at Mike and Pat, both angry, vengeful men.

Dir: Gilbert Pratt

A fascinating piece of cinema that shares thematic elements.

Dir: Gilbert Pratt

A visual fragment from the archive: The thematic resonance of Girlies and Grubbers perfectly mirrors the editorial trajectory of our deep dive.

Two playful young ladies make the acquaintance of two idle sons, who follow them, persistently forcing their way into a dancing academy, much against the dancing master's will. One of them gets a bright idea, and with the help of two pieces of mirror and a long pipe making a periscope, watch the dancing lessons. They are much interested in the dance of the seven veils, when the dancing master spies the periscope. He comes down, scares Monte away, and takes his place beside the unsuspecting Joe. Joe finally evades him, the two again resume their persistently in forcing their way into the place, assuming two suits of armor, being brought to the academy. Queer things follow rapidly on top of one another, winding up with the two running, as the picture fades.

Dir: Robert N. Bradbury

A simple country girl, brutally mistreated by her stepfather, awakens first the sympathy, then the love, of The Boy. The Spider, who lusts after The Girl, makes a bargain with the stepfather and takes her to the city where, kept prisoner, she is soon broken in health and spirit. Cast out and near death, she is taken in by The Boy. Following the demise of The Spider, The Boy takes her to church, where he prays, and after many hours she is restored to health.

Dir: Wilfred Lucas

A visual fragment from the archive: The thematic resonance of Caves and Coquettes perfectly mirrors the editorial trajectory of our deep dive.

Brian O'Farrell (Snowy Baker), is an English 'new chum' who takes a job at an Australian cattle station. He is teased by station hands because of his appearance (including spats and a monocle) but he soon impresses them with his skills at riding and boxing. The station manager, John MacDonald (Wilfred Lucas), takes O'Farrell to Sydney to meet his daughter Edith (Kathleen Key) who is working in the slums. Edith is kidnapped by criminals after witnessing a crime but O'Farrell rescues her. It is later revealed he is the owner of the station.

Dir: Gilbert Pratt

At a powder mill, the formula for an all-destroying explosive is sought by enemies of the mill owners, and the chase for this provides a riot of fun.

Dir: Gilbert Pratt

Harold must have $5,000 to win the girl and manages to get it out of her father in a novel way.