Coney Island

Al and Roscoe, employees at a gas station, are rivals for Alice. When Buster delivers a wedding gown for Alice and begins modeling it, he is mistaken for Alice and is kidnapped by Al.

Roscoe and Buster give a bullying Strongman the what-for, but after the performance troupe quits it's up to Fatty and Buster to keep the show going.

Harry and Willie are scammed into buying the Thomas Edison studio lot by a man named Gorman. They decide to follow Gorman's trail to Hollywood where, unbeknownst to them, he has taken the identity of a foreign film director. The lads wind up as stunt doubles in film the which Gorman is now shooting, while the conman tries to have the bungling pair done away with before they realize who he really is.

A European immigrant endures a challenging voyage only to get into trouble as soon as he arrives in New York.

Charlie and his partner are to deliver a piano to 666 Prospect St. and repossess one from 999 Prospect St.

A hapless young man living in New York City rallies to save his girlfriend's grandfather's horse-drawn trolley, the last in the city, from being put out of business by a railroad company.

Two families embark on a pleasant Sunday picnic but manage to run into a variety of issues with their temperamental automobile. Each incident requires repeated exits and reboardings by Laurel, Hardy, their wives and grouchy, gout-ridden Uncle Edgar.

A very old woman wants to have dinner with her friends. As they are all dead, the butler has to play the role of every guest.

Aspiring filmmakers Mel Funn, Marty Eggs and Dom Bell go to a financially troubled studio with an idea for a silent movie. In an effort to make the movie more marketable, they attempt to recruit a number of big name stars to appear, while the studio's creditors attempt to thwart them.

A tramp cares for a boy after he's abandoned as a newborn by his mother. Later the mother has a change of heart and aches to be reunited with her son.

Finding an unfinished script written by Alfred Hitchcock, Martin Scorsese attempts to recreate it himself as Hitchcock would have.

Produced and directed by George Albert Smith, the film shows a couple sharing a brief kiss as their train passes through a tunnel. The Kiss in the Tunnel is said to mark the beginnings of narrative editing. It is in fact, two films in one, hence the 2 min length. Firstly, the G.A. Smith film here for the central cheeky scene in the carriage. The train view footage however is Cecil Hepworth's work, entitled 'View From An Engine Front - Shilla Mill Tunnel', edited into two halves in order to provide a visual narrative of the train entering the tunnel before the kiss and then leaving afterwards. More information about the filming of the phantom train ride can be found searching for the Hepworth film separately.

Goofy shows us the national pastime. After a brief overview, we have a demonstration of the many possible pitches. On to the World Series, where we go through an eventful inning, culminating in a baseball that disintegrates when being hit.

Hoping to bring his family closer together and to recreate his childhood vacation for his own kids, a grown up Rusty Griswold takes his wife and their two sons on a cross-country road trip to the coolest theme park in America, Walley World. Needless to say, things don't go quite as planned.

At a morgue, forensic pathologists conduct autopsies of the corpses assigned. "S. Brakhage, entering, WITH HIS CAMERA, one of the forbidden, terrific locations of our culture, the autopsy room. It is a place wherein, inversely, life is cherished, for it exists to affirm that no one of us may die without our knowing exactly why. All of us, in the person of the coroner, must see that, for ourselves, with our own eyes. It is a room full of appalling particular intimacies, the last ditch of individuation. Here our vague nightmare of mortality acquires the names and faces of OTHERS. This last is a process that requires a WITNESS; and what 'idea' may finally have inserted itself into the sensible world we can still scarcely guess, for the CAMERA would seem the perfect Eidetic Witness, staring with perfect compassion where we can scarcely bear to glance." – Hollis Frampton