My research suggests that in addition to local practices, American film historians should continue to be attentive to mass experiences determined not only by location but, in this case, by 19th century periodical reading habits. I focus on the first four years of US public photochemical motion picture exhibition to consider the similarities I found in the use of still photographs to explain and introduce the machines and development processes used to introduce photochemical motion pictures to middle-class reading publics, effectively inviting readers to mentally animate the images themselves in imitatiion of a screening apparatus. I argue that the use of photographs in US magazines, the result of changes in printing practices in the period following the Civil War, shows that in addition to documented exhibitor practices, published magazine accounts also readied potential audience members for the new experience they would encounter by emphasizing the synthesis of individual photographs to create motion pictures. This relationship demonstrates that American periodicals played a crucial role in the way photochemical motion pictures and still photographs were depicted in mass culture to visualize the hidden relationship between photograms once they are placed in motion.

我的研究表明，除了当地实践之外，美国电影史学家还应该继续关注大众体验，这些体验不仅取决于地点，而且在这种情况下还取决于 19 世纪的期刊阅读习惯。我重点关注美国公共光化学电影展览的前四年，考虑到我在使用静态照片来解释和介绍用于向中产阶级阅读公众介绍光化学电影的机器和开发过程中发现的相似之处，有效地邀请读者可以模仿放映装置，在心里为图像本身赋予动画效果。我认为，美国杂志中照片的使用是内战后印刷实践变化的结果，这表明除了有记录的参展商实践之外，出版的杂志报道还强调将单张照片合成为电影，让潜在观众为他们将遇到的新体验做好准备。这种关系表明，美国期刊在大众文化中描绘光化学电影和静态照片的方式中发挥了至关重要的作用，以可视化照片一旦被置于运动中后隐藏的关系。