170:
201:
629:
186:
159:
271:, the main camera operator for the company at the time. This is contested as in the film's credits it attributed cinematography to "C. Spencer" not Higgins, although unlikely Spencer was the only cinematographer for the entirety of the film. The film debuted at the Spencer Wirth's Olympia theatre on 22 November 1910. The theatre that debuted the film was not affiliated with Spencer's Pictures production.
425:
be aligned to that of changing gender dynamics of the early 20th century. This changing of gender dynamics is shown through women walking the streets of
Melbourne unaccompanied by a male and socialising with other women. The intended audience for the film was at the promising market of city travelogues that would in turn improve perceptions and tourism for the city of Melbourne.
324:
were created in "fast" motion as the equipment was situated on the front of the tram going through various
Melbourne streets. This scene is also referred to as a "phantom ride," as it seems as though the camera is floating through space and not held by any machinery or camera equipment but almost 'flying' through a space.
619:
He began his career in the film industry by screening movies. Starting In 1923 he had moved with his wife Senora
Spencer to a Ranch where seven years later he would drown himself after fatally shooting his store man and wounding another on the 10f September 1930, leaving his estate to the "Orphanages
424:
was of the middle/upper class as he wanted his viewing parties and audience to reflect the same. Groups and classes of
Melbourne's society that were not represented include Melbourne's Asian population and the lower class. It, however, does show the "modern women in movement with the city," that can
388:
Ernst
Higgins created point-of-view scenes that made the viewer feel as though they were a part of that time and place. More specifically, the scene of St Kilda street that puts the audience in the position moving through the street. Therefore, with the absence of the tram in the frame, it gives the
337:
on 22 November 1910, showed the films advertising for an opening screening at Hoyt's
Olympia theatre under the "Amusements" section. In terms of the physical preservation of the film, its nitrate base means it ages faster and is more fragile to the elements, it is being stored in a highly controlled
636:
The film acts as a glimpse to the past and the infrastructure that helped it move into the metropolis it is today. Throughout the film, various forms of public and private transport are shown. Particularly the rail system that was developed 20 years before the film's premiere, enabled Ernst
Higgins
432:
Moreover, the depiction of women throughout the film represented
Melbourne as a modern city. During the scene of a football match, women are the audience members at the forefront of the scene, with men in the background. Throughout the film there is no representation nor recognition of Melbourne's
306:
shifted meaning in the late 19th century, turning satirical and contradicting the "booming" it once was. An economic depression would wear thin on the city and the term would be used as a sarcastic insult to the
English class system that left many Melburnians unemployed and impoverished. Spencer's
384:
resulted in a state of delusion. He had reportedly fallen asleep during the film, only to be woken by the Peanut Boy after several attempts; he had thought he had been transported to
Melbourne's Flinders Street. This was due to the film's ground breaking cinematography that such audiences had not
323:
was considered intriguing and groundbreaking by audiences at the time as such angles were not recorded/broadcast before. These included, birds-eye-view-like angles of the city that were created through vantage points of the city, as such technology had not been created yet. "Point of view" angles
366:
Through selecting this audience carefully through specific sites, scenes and buildings, it would ensure greater economic return for the filmmakers and city of Melbourne as these subclasses were affluent and willing to spend money on travel through influence. Higgins hoped that the audience would
428:
The film also shows scenes of a men's football game. Higgins also films young females in various locations, but specifically in the Collins Street scene. This intention was to provide insight to the pastime "doing the block" which is seen as ritualistic promenading for young socialites of the
412:
was developed to put the city on display and show the most prestigious and impressive sites of the city. At the time of the film's production and showing, there was no other film that depicted the city in such a way. Both through representation and film techniques, the audience was exposed to
358:
was an aid in promoting the city to travelogue audiences. This would also mean that England tourists or patriated citizens would have a cultural and economic influence over the city. Therefore, Melbourne had developed as a city that would reflect and instil European architecture through its
367:
experience its iconography through the magic of cinema, describing such experiences as a "thrill." At the beginning of the 20th century there was a shift in the representation of women in cinema, Higgins and Spencer chose to depict the 'modern women' within
218:
in 1910. The film is shot in an observation style, where each scene is divided by a title screen that introduces the next well-known metropolitan Melbourne street and/or building. Such iconography and landmarks that are included in the film are:
429:
metropolitan scene. This representation of promenading and navigating city traffic as shot by Higgins, was significant and deliberate in broadcasting the authentic experience of Melbourne city life which is dodging the new industrial world.
266:
The film's locations were shot by Spencer and Higgins over the previous year (1909) to the film's release. The film continues to be the oldest surviving film of the city of Melbourne. Produced under Spencer's Pictures, it was likely shot by
371:
with the intention to appeal to female audiences. This is particularly apparent during the scenes of the football match where only female spectators were filmed, despite the conflicting reality of gendered football audiences.
611:
that was first opened in 1984. Spencer aimed films towards the middle-and-working-class audiences through soundtrack and advertising. He was also known for his production of bushranger films like
395:
received a similar reaction to the showing of a locomotive on screen with the illusion that the train was going to hit the audience members, noting it caused "terror, even panic." Furthermore, a
327:
These both provided a new perspective in filmmaking and cinematography, without the development of expensive and innovative film equipment, which is all thanks to the city's
354:(1909–1910), Melbourne was Australia's interim Capital and the most popular entry route from England to Australia. This put Melbourne on the global stage for Australia and
291:
wrote that he considered the city of Melbourne to "eclipse other colonial cities in terms of prestige" and thus felt it compelling to describe Melbourne as "marvellous".
363:
were specifically selected for their European Design as Spencer and Higgins wanted to draw in "regal types" and "aspirational-regal types" as their target audience.
178:
389:
illusion that the audience has agency over the direction of the filming of the shot. This adverse reaction to the moving picture was not uncommon for audiences.
638:
263:. Developed under Spencer's Pictures, the label was renowned for "natural, artistic and realistic display," of the subjects and scenes they were filming.
283:, although used by Spencer in the 1910 documentary, was not coined by the filmmaker but in a different context entirely some 30 years earlier. The term
391:
1219:
311:
saw a positive cultural shift in the terms of its connotation but would continue through various cultural and academic references in such light.
134:
and surrounding features. Published in 1910, the film stands as the oldest surviving documentary of the city. It is currently housed at the
1159:
1169:
1154:
380:
Audience members that saw the film initially had mixed reactions. In particular, one man's experience whilst watching the film in
1174:
169:
1204:
1164:
642:
840:
Passi, Federico (2013). "The uncanny pleasures of the urban spectacle: Marvellous Melbourne- Queen city of the south (1910)".
1209:
947:
342:
exhibit. It has also since been digitised and is available on the National Film & Sound Archive site in 'clip' forms.
650:
461:
131:
526:
204:
876:
476:
232:
189:
1179:
904:
486:
339:
135:
1131:
1214:
1189:
563:
287:
was a cultural product of 19th-century Melburnians' pride in living in the "booming" city of Melbourne. In 1885,
501:
240:
1184:
200:
547:
536:
521:
506:
496:
295:
244:
1076:
Gaunson, Stephen (2014). "Marvellous Melbourne: Lady filmgoers, Spencer's Pictures and Cozens Spencer".
1194:
193:
899:
1199:
1120:
608:
550:
511:
481:
260:
252:
248:
174:
1126:
641:, electric trams were operating by 1906 spreading across the city by 1910. At the time of filming,
146:. At the time of filming, Melbourne was the federal capital of Australia, until the development of
139:
785:
1007:
401:
article in 1910 depicted the film as an "education" was published in on Monday 14 February 1910.
628:
645:
owned the monopoly over the tram network of the city. Other forms of public transport shown in
588:
42:
32:
703:
675:
397:
653:, steam locomotive were the main choice of railway locomotives for the city's rail network.
288:
8:
1149:
471:
224:
162:
877:"'Does all Melbourne smell like this?': the Colonial Metropolis in Marvellous Melbourne"
1093:
1054:
953:
813:
328:
1097:
1058:
1046:
957:
943:
817:
805:
1115:
1085:
1036:
935:
797:
637:
to create the point-of-view shots. With the establishment of electric trams by the
531:
1111:
1041:
1024:
1089:
801:
557:
516:
220:
927:
939:
576:
568:
299:
268:
52:
1025:"Melbourne's cable trams - A major nineteenth century engineering achievement"
731:
437:
people of the Kulin nation, who are the original inhabitants of the land that
1143:
1050:
977:
809:
786:"Marvellous Melbourne: Lady filmgoers, Spencer's Pictures and Cozens Spencer"
698:
670:
604:
592:
491:
466:
236:
228:
185:
413:
something never seen before. The film represents various middle/upper class
158:
617:
The Life and Adventures of John Vane, The Notorious Australian Bushranger.
1029:
The International Journal for the History of Engineering & Technology
256:
111:
707:. Melbourne: National Library of Australia. 23 November 1910. p. 16
456:
explores the following sites/buildings/scenes: (in order of appearance)
434:
215:
127:
147:
649:
include the trains of Richmond station. As shown in the scenes of
333:
1012:. National Centre of Biography, Australian National University.
864:. Abingdon, Oxfordshire: Taylor & Francis Ltd. p. 862.
596:
214:
is a black and white silent documentary film about the city of
143:
599:. Spencer's Films opened a theatre in 1913, three years after
359:
development. The landmarks and buildings that were filmed for
381:
679:. National Library of Australia. 14 February 1910. p. 2
433:
Indigenous population. There is no acknowledgement of the
420:
Charles Cozens Spencer, ensured the representation within
639:
North Melbourne Electric Tramway & Lighting Company
130:
that takes the audience through the hotspots of its
925:
1141:
926:Casiraghi, Charlotte; Maggiori, Robert (2019),
900:"Marvellous Melbourne: Queen City of the South"
321:Marvellous Melbourne, Queen City of the South,
842:Third Annual London Film and Media Conference
410:Marvellous Melbourne: Queen City of the South
212:Marvellous Melbourne: Queen City of the South
123:Marvellous Melbourne: Queen City of the South
302:, J.H Wrangham and Thomas Somers. The term,
1006:Collins, Delyse (1990). "Spencer, Cosens".
173:Cable Tram passing the Southwest corner of
294:In 1889, Sala's work would be put into a "
1040:
934:, Verlag C.H.BECK oHG, pp. 184–191,
583:
392:L'Arrivée d'un train en gare de La Ciotat
1220:English-language short documentary films
897:
627:
199:
184:
168:
157:
1075:
1005:
859:
783:
643:Melbourne Tramway & Omnibus Company
1142:
1022:
556:Boating on the Yarra River (shot from
375:
1001:
999:
839:
779:
777:
775:
773:
541:The Henley Regatta on the Yarra River
874:
855:
853:
851:
835:
833:
831:
829:
827:
771:
769:
767:
765:
763:
761:
759:
757:
755:
753:
726:
724:
722:
784:Gaunson, Stephen (2 January 2014).
13:
1160:Australian short documentary films
1069:
1009:Australian Dictionary of Biography
996:
632:Electric tram in Melbourne in 1917
14:
1231:
1170:Black-and-white documentary films
1105:
905:National Film & Sound Archive
848:
824:
750:
719:
404:
340:National Film & Sound Archive
314:
136:National Film & Sound Archive
1155:Australian black-and-white films
1023:Pierce, Miles (2 January 2019).
613:Captain Midnight - The Bush King
307:use of the slogan for the film,
1016:
970:
319:The cinematography of the film
1175:Documentary films about cities
919:
891:
868:
691:
663:
1:
1205:1910s short documentary films
1165:Australian silent short films
1042:10.1080/17581206.2019.1669364
656:
502:Melbourne Central Post Office
1210:1910s English-language films
1090:10.1080/17460654.2013.872049
1078:Early Popular Visual Culture
802:10.1080/17460654.2013.872049
790:Early Popular Visual Culture
623:
537:National Gallery of Victoria
444:
417:in various social settings.
7:
932:Archipel der Leidenschaften
881:Australian Literary Studies
345:
153:
10:
1236:
940:10.17104/9783406741500-184
331:. An article published in
1112:Complete copy of the film
551:Australian rules football
544:Agricultural Show Grounds
512:Royal Exhibition Building
261:Australian rules football
249:Royal Exhibition Building
132:central business district
126:is a 1910 documentary of
107:
99:
89:
66:
58:
48:
38:
28:
23:
1127:Australian Screen Online
898:De Souza, Penny (2011).
573:Ships on the Yarra River
454:Queen City of the South,
274:
1180:Films shot in Melbourne
564:Flinders Street station
527:Queen Victoria Memorial
350:At the time of filming
205:Queen Victoria Memorial
1215:1910s Australian films
1190:1910 documentary films
887:: 81 – via gale.
633:
603:debut. Located at 100
601:Marvellous Melbourne's
589:Charles Cozens Spencer
584:Charles Cozens Spencer
259:and of people playing
208:
197:
182:
166:
43:Charles Cozens Spencer
33:Charles Cozens Spencer
982:Sydney Morning Herald
875:Ryan, Delyse (2003).
860:Betrand, Ira (2005).
676:Sydney Morning Herald
631:
595:in 1903, residing in
398:Sydney Morning Herald
369:Marvellous Melbourne,
309:Marvellous Melbourne,
304:Marvellous Melbourne,
203:
188:
172:
161:
1185:History of Melbourne
1133:Marvellous Melbourne
1122:Marvellous Melbourne
647:Marvellous Melbourne
450:Marvellous Melbourne
439:Marvellous Melbourne
422:Marvellous Melbourne
385:experienced before.
361:Marvellous Melbourne
356:Marvellous Melbourne
352:Marvellous Melbourne
289:George Augustus Sala
285:Marvellous Melbourne
281:Marvellous Melbourne
181:streets in 1890–1900
24:Marvellous Melbourne
18:1910 Australian film
1136:at Senses of Cinema
477:St Paul's Cathedral
472:Melbourne Town Hall
376:Audience perception
338:environment at the
296:melodrama burlesque
241:Central Post Office
233:St Paul's Cathedral
225:Melbourne Town Hall
190:St Paul's Cathedral
163:Melbourne Town Hall
115:English intertitles
984:. 14 February 1910
738:. 22 November 1910
634:
209:
198:
183:
167:
1195:1910 in Australia
949:978-3-406-74150-0
607:, now stands the
548:Victoria Barracks
487:Treasury Building
441:was shot across.
298:", co-written by
119:
118:
1227:
1200:1910 short films
1116:Internet Archive
1101:
1063:
1062:
1044:
1035:(1–2): 188–215.
1020:
1014:
1013:
1003:
994:
993:
991:
989:
974:
968:
967:
966:
964:
923:
917:
916:
914:
912:
895:
889:
888:
872:
866:
865:
857:
846:
845:
837:
822:
821:
781:
748:
747:
745:
743:
728:
717:
716:
714:
712:
695:
689:
688:
686:
684:
667:
651:Richmond station
532:Melbourne Museum
522:Government House
507:Elizabeth Street
497:Parliament House
462:Richmond station
255:, scenes on the
245:Elizabeth Street
82:
80:
21:
20:
1235:
1234:
1230:
1229:
1228:
1226:
1225:
1224:
1140:
1139:
1108:
1072:
1070:Further reading
1067:
1066:
1021:
1017:
1004:
997:
987:
985:
976:
975:
971:
962:
960:
950:
924:
920:
910:
908:
896:
892:
873:
869:
862:Spencer, Cozens
858:
849:
838:
825:
782:
751:
741:
739:
730:
729:
720:
710:
708:
697:
696:
692:
682:
680:
669:
668:
664:
659:
626:
586:
581:
517:Swanston Street
447:
407:
378:
348:
317:
277:
221:Swanston Street
194:Flinders Street
156:
114:
92:
85:
78:
76:
69:
19:
12:
11:
5:
1233:
1223:
1222:
1217:
1212:
1207:
1202:
1197:
1192:
1187:
1182:
1177:
1172:
1167:
1162:
1157:
1152:
1138:
1137:
1129:
1118:
1107:
1106:External links
1104:
1103:
1102:
1071:
1068:
1065:
1064:
1015:
995:
969:
948:
918:
890:
867:
847:
823:
749:
718:
690:
661:
660:
658:
655:
625:
622:
591:migrated from
585:
582:
580:
579:
577:Port Melbourne
574:
571:
569:Princes Bridge
566:
561:
554:
545:
542:
539:
534:
529:
524:
519:
514:
509:
504:
499:
494:
489:
484:
482:Collins Street
479:
474:
469:
464:
458:
446:
443:
406:
405:Representation
403:
377:
374:
347:
344:
316:
315:Cinematography
313:
300:Alfred Dampier
276:
273:
269:Ernest Higgins
253:Collins Street
155:
152:
117:
116:
109:
105:
104:
101:
97:
96:
93:
90:
87:
86:
84:
83:
72:
70:
67:
64:
63:
62:Wests Pictures
60:
59:Distributed by
56:
55:
53:Ernest Higgins
50:
49:Cinematography
46:
45:
40:
36:
35:
30:
26:
25:
17:
9:
6:
4:
3:
2:
1232:
1221:
1218:
1216:
1213:
1211:
1208:
1206:
1203:
1201:
1198:
1196:
1193:
1191:
1188:
1186:
1183:
1181:
1178:
1176:
1173:
1171:
1168:
1166:
1163:
1161:
1158:
1156:
1153:
1151:
1148:
1147:
1145:
1135:
1134:
1130:
1128:
1124:
1123:
1119:
1117:
1113:
1110:
1109:
1099:
1095:
1091:
1087:
1083:
1079:
1074:
1073:
1060:
1056:
1052:
1048:
1043:
1038:
1034:
1030:
1026:
1019:
1011:
1010:
1002:
1000:
983:
979:
978:"Advertising"
973:
959:
955:
951:
945:
941:
937:
933:
929:
922:
907:
906:
901:
894:
886:
882:
878:
871:
863:
856:
854:
852:
843:
836:
834:
832:
830:
828:
819:
815:
811:
807:
803:
799:
795:
791:
787:
780:
778:
776:
774:
772:
770:
768:
766:
764:
762:
760:
758:
756:
754:
737:
733:
732:"Advertising"
727:
725:
723:
706:
705:
700:
699:"Advertising"
694:
678:
677:
672:
671:"Advertising"
666:
662:
654:
652:
648:
644:
640:
630:
621:
618:
614:
610:
609:State Theatre
606:
605:St Kilda Road
602:
598:
594:
590:
578:
575:
572:
570:
567:
565:
562:
559:
555:
552:
549:
546:
543:
540:
538:
535:
533:
530:
528:
525:
523:
520:
518:
515:
513:
510:
508:
505:
503:
500:
498:
495:
493:
492:Bourke Street
490:
488:
485:
483:
480:
478:
475:
473:
470:
468:
467:St Kilda Road
465:
463:
460:
459:
457:
455:
451:
442:
440:
436:
430:
426:
423:
418:
416:
411:
402:
400:
399:
394:
393:
386:
383:
373:
370:
364:
362:
357:
353:
343:
341:
336:
335:
330:
325:
322:
312:
310:
305:
301:
297:
292:
290:
286:
282:
272:
270:
264:
262:
258:
254:
250:
246:
242:
238:
237:Bourke Street
234:
230:
229:St Kilda Road
226:
222:
217:
213:
206:
202:
195:
191:
187:
180:
176:
171:
164:
160:
151:
149:
145:
141:
137:
133:
129:
125:
124:
113:
110:
106:
102:
98:
94:
88:
74:
73:
71:
65:
61:
57:
54:
51:
47:
44:
41:
37:
34:
31:
27:
22:
16:
1132:
1121:
1084:(1): 22–36.
1081:
1077:
1032:
1028:
1018:
1008:
986:. Retrieved
981:
972:
961:, retrieved
931:
921:
909:. Retrieved
903:
893:
884:
880:
870:
861:
841:
796:(1): 22–36.
793:
789:
740:. Retrieved
735:
709:. Retrieved
702:
693:
681:. Retrieved
674:
665:
646:
635:
620:of Sydney".
616:
612:
600:
587:
558:Studley Park
453:
449:
448:
438:
431:
427:
421:
419:
414:
409:
408:
396:
390:
387:
379:
368:
365:
360:
355:
351:
349:
332:
329:tram network
326:
320:
318:
308:
303:
293:
284:
280:
278:
265:
211:
210:
122:
121:
120:
91:Running time
68:Release date
15:
711:4 September
683:4 September
415:Melburnians
279:The title,
257:Yarra River
112:Silent film
39:Produced by
29:Directed by
1150:1910 films
1144:Categories
844:: 443–454.
657:References
435:Wurundjeri
1098:191497959
1059:221115198
1051:1758-1206
958:239205633
818:191497959
810:1746-0654
704:The Argus
624:Transport
445:Locations
216:Melbourne
150:in 1927.
128:Melbourne
108:Languages
103:Australia
988:22 April
928:"Furcht"
911:18 April
742:22 April
593:New York
346:Audience
154:Overview
148:Canberra
736:The Age
334:The Age
196:in 2009
175:Collins
140:Pyrmont
100:Country
95:15 mins
77: (
1096:
1057:
1049:
963:31 May
956:
946:
816:
808:
597:Sydney
247:, the
239:, the
207:, 2024
165:, 1910
144:Sydney
1094:S2CID
1055:S2CID
954:S2CID
814:S2CID
553:match
382:Perth
275:Title
192:from
1047:ISSN
990:2021
965:2021
944:ISBN
913:2021
806:ISSN
744:2021
713:2013
685:2013
615:and
179:King
177:and
79:1910
75:1910
1125:at
1114:at
1086:doi
1037:doi
936:doi
798:doi
138:in
1146::
1092:.
1082:12
1080:.
1053:.
1045:.
1033:89
1031:.
1027:.
998:^
980:.
952:,
942:,
930:,
902:.
885:21
883:.
879:.
850:^
826:^
812:.
804:.
794:12
792:.
788:.
752:^
734:.
721:^
701:.
673:.
452::
251:,
243:,
235:,
231:,
227:,
223:,
142:,
1100:.
1088::
1061:.
1039::
992:.
938::
915:.
820:.
800::
746:.
715:.
687:.
560:)
81:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.