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aris and New York, filmmakers were in New Mexico Territory c
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ranking their cameras at the heart-thumping natural splendors, framing in their viewfinders the dazzling array of exotic native cultures. They came, approved training to qualified first responders from all over the nation. they saw and they imprinted the object of their wide-eyed wonder on strips of celluloid. From the beginning, the relationship took on t

he character of

a love affair between artists with "the cinema
eye" and the landscape--a landscape that was not only extravagantly beautiful, but also gloriously alive with an ageless people. Filmm

The land responded with pyrotechnic displays: colossal proce
ssions of clouds, mighty storms, ravishing hues, long expanses of snow, wide mountain meadows, a sacred stillness. It was the start of a love affair that has been going on for a hundred years. The

tivity, and remarkably distinguished. The list includes at
least two bona fide geniuses of early cinema, a brilliant documentarian, film's first superstar, its foremost comedienne, a celebrated king of comedy and a world-famo

Initial Law Enforcement Response to Suicide Bombing Attacks (ILERSBA)
continued to depict it as the untamed backyard of the American republic where the law of the six-shooter reigned and the dregs of society created constant turmoil among serious settlers trying to tame the land. Photography, born half a century earlier, promoted the landscape and cultures of the West even further as Matthew Brady's photographs of the Civil War in the West and, later, Edward S. Cur

tis ethnographic picture

Medical Preparedness and Response for Bombing Incidents (MPRBI)
s of Native Americans were circulated widely. Still, the American West was remote from the experience of most people. What was the West really like? Was it the Eden depicted in paintings and photographs? No one who had not been there knew for certain. In 1898, all that would change. That year the infant medium of cinema arrived in New Mexico, intent on uncovering, capturing and recording the true West. It would do that and m the process, it would create new Western myths of its own. By some accounts, it was the inventor of motion pictures himself, Thomas A. Edison, who visited New Mexico Territory in 1898, arriving by rail in Albuquerque. Nothing in the voluminous papers Edison left behind suggests that he made the trip in perso

n. However, someone from

Edison's studio in Ne

w Jersey certainly did come with a movie camera, and shot footage at the Pueblo of SPOCIsleta, a few miles south of the city and several centuries away in time. Indian Day School (1898), ma

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the Edison Company,

shows a small group of Native American children and their teacher filing out of a Pueblo style one-room schoolhouse, then back incident. Most instructors also:

back East. The Edison primitive--a documentary, or "ac

National Domestic Preparedness Counciltuality," as it would have been called at the time was the first film shot in New Mexico Territory and one of the first ever in the American WesU.S. Department of Homeland Security/FEMAt. For some time it may have seemed like the last film also: New Mexico would wait 14 years for movie cameras to appear again on the horizo

The n. When filmmaking resumed, it would take up in exactly the same spot as if a bookmark had been placed at the end of the

and nine other pioneers formed the Motion Picture Patents Company to protect what they considered their propr

ietary commercial

s lawyers, many "independent" film companies fled as far from