Opens with a woman posing on a pedestal, dressed in a white body leotard with a sash tied at her hips. Marshall continues with various feminine poses, reminiscent of classic Greek statuary, to accentuate her figure. Film cuts to Treloar posed on the bare stage without a pedestal. He wears brief leopard-skin trunks or short tunic, wrist bands, and Roman-looking laced sandals. His poses accentuate the muscular development of his upper body, particularly that of his arms, and include movements that make the muscles jump. Treloar finishes with a slight nod to the camera.

The lives of Stan Laurel (1890-1965) and Oliver Hardy (1892-1957), on the screen and behind the curt...

A documentary from Erkki Karu, one of the earliest pioneers of Finnish cinema: This government-produ...
A medium-length film that takes the central place in the video installation "The Lady of Corinth". I...

A silent succession of black-and-white photographs of the city of Montreal.
On 4 September Frederick Albert Cook (1865-1940) arrived in Copenhagen on the ship 'Hans Egede'. He ...
Film historians, and survivors from the nearly 30-year struggle to bring sound to motion pictures ta...

How would it look like, the body of Dom Afonso Henriques, first king of Portugal, tutelary figure, s...
Almost 200 women file by a device on the wall from which they take their time checks. A man runs hal...
On the left of the screen, a small group of men lift the top off of what appears to be a turbine wit...

This scene is a part of the very first film shot produced by the Manaki Brothers. Despina, the Janak...

Young people dive into the sea by jumping off a manmade wooden raft, while a small boat loaded with ...
Released on October 4, 1896 in Lyon ( France ) under the title “ Fêtes de l'inauguration du monument...