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No obstant això, Eastman va ser la primera gran empresa que va llançar la producció en massa d'aquests components, quan el 1889 va notar que l'emulsió de solució gelatinosa de bromur podia ser aplicada a aquesta base clara eliminat així el paper.<ref> Mees, C. E. Kenneth (1961). '' From Dry Plates to Ektachrome Film: A Story of Photographic Research ''. Ziff-Davis Publishing. pp. 15-16. </ref>
Amb l'aparició de la pelicuula flexible, [[Thomas Alva Edison]] ràpidament va començar a treballar en la seva invenció, el [[Kinetoscopi]], el qual va ser exhibit per primera vegada a l'Institut d'Art i Ciència de Brooklyn a [[Mai 9 de maig]], de [[1893]].<ref> Robinson, David (1997). '' Des peepshow fins al palau: El naixement del cinema americà ''. New York and Chichester, West Sussex: Columbia University Press; pp. 39-40. ISBN 0-231-10338-7 </ref> El kinetoscopi era un sistema de projecció secuencual planejat per a ser vist per una persona a la vegada.<ref name="hone"> '' Kodak Motion Picture Film (H1) '' (4th ed). Eastman Kodak Company. ISBN 0-87985-477-4 </ref> Edison, juntament amb el seu assistent WKL Dickson, va continuar amb el seu treball i va inventar el [[Kinetoscopi # Kinetofono|Kinetófono]], el qual combinava el Kinetoscopi amb el cilindre d'Edison, el [[fonògraf]] <!--. Beginning in March 1892, Eastman and then, from April 1893 into 1896, New York's Blair Camera Co supplied Edison with 1 9/16-inch filmstock that would be Trimmer and perforated at the Edison lab to create 35 mm gauge filmstrips (at some point in 1894 or 1895, Blair començava sending estoc to Edison that was cut exactly to specification).<ref> Spehr, Paul C. (2000). '' Unaltered to Date: Developing 35 mm Film '', in '' Moving Images: From Edison to the Webcam '', ed. John Fullerton and Astrid Soderbergh Widding. Sydney: John Libbey & Co; pp. 3-28 (pp. 11-14). ISBN 1-86462-054-4 </ref> Edison's aperture defined a single frame of film at 4 perforations high.<ref name="katz"> Katz, Ephraim. (1994). '' The Film Encyclopedia '' (2nd ed.). HarperCollins Publishers. ISBN 0-06-273089-4. </ref> Edison claim exclusive patent rights to his design of 35 mm motion picture film, with four sprocket holes per frame, forcing his only major filmmaking Competitor, [[American Mutoscope and Biograph Company|American Mutoscope & Biograph]], to use a 68 mm film that used friction feed, not sprocket holes, to move the film through the camera. A court Judgment in March 1902 invalidated Edison's claim, Allowing any producer or distributor to use the Edison 35 mm film design without license. Filmmakers were already doing so in Britain and Europe, where Edison had failed to file patents.<ref>{{Citi book|first = Charles|last = Musser|title = The Emergence of Cinema: The American Screen to 1907|location = Berkeley, calç|publisher = University of California Press|year = 1994|pages = 303-313|id = ISBN 0-520-08533-7}}</ref> A Variation developed per l'[[Auguste and Louis Lumière|Lumière brothers]] used a single circular perforation on each side of the frame towards the middle of the horitzontal axis.<ref name="lumiere"> Lobb, Grant. "Film gauge and Soundtracks", BKSTS wall chart (sample frame provided). [Year unknown] </ref> It was Edison's format, tanmateix, that became first the de facto standard and then, in 1909, the "official" standard of the newly formed [[Motion Picture Patents Company]], a [[trust (19th century)|trust]] established by Edison. Scholar Paul C. Spehr descrius the importance of these Developments:
<blockquote>
[T] he early Acceptance of 35 mm es a estàndard had momentous impact on the development and spread of cinema. The standard gauge made it possible for films to be shown in every country of the world .... It provided a uniforme, reliable and predictible format for production, distribution and exhibition of movies, facilitating the rapid spread and Acceptance of the movies as a world-wide device for entertainment and communication.<ref> Spehr, Paul C. (2000). '' Unaltered to Date: Developing 35 mm Film '', in '' Moving Images: From Edison to the Webcam '', ed. John Fullerton and Astrid Soderbergh Widding; pp. 3-28 (p. 4). Sydney: John Libbey & Co ISBN 1-86462-054-4 </ref>
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