As we did last year, welcome the new year with a review of what will be the occasion of the centenary this year in the field of cinematography. Among others, 1909 was the year of the debut of actress Mary Pickford (in the top frame, hugging two girls in The Lonely Villa, Griffith) and Francesca Bertini and actors Ivan Mosjoukine and Roscoe "Fatty" Arbuckle, the implementation of some major titles Griffith, a boost for cinema as the Portuguese or some Latin American, or the year that was imposed Edison perforated celluloid. Consider the review of that year, which also includes links to look through the network, mainly on YouTube, some of the titles mentioned. 
1909 is an important year in the U.S. industry. An International Conference requires the drilling of Edison as a standard for the format of the movies. In Edison, the same year, they capture the writer Mark Twain images for the cinema. Also for this company, James Stuart Blackton co-directed with Charles Kent The Life of Moses, performed a version of The dream of a summer night and animation techniques applied to Princess Nicotine (pictured). Another famous animator, cartoonist Winsor McCay presented in a session, filmed and projected by the Edison a few years later, his Gertie the Dinosaur, skillfully combining real images with cartoons. That same year, Porter left the Edison and attempts a solo venture, which will be released in 1911, Rex Films. Beyond Edison, Biograph is imposed, since then known as Biograph Company. It starts out Griffith, following its debut last year, with titles like The Lonely Villa , A Corner in Wheat (in pictured), Those Awful Hats or A Drunkard's Reformation, an example of educational films. Also at the Biograph appear then people like Lionel Barrymore, the future director William Beaudine or Billy Bitzer, who developed the technique of the backlight. In the acting field, 1909 also represents the debut of actress Mary Pickford and its archetype of childlike woman, who will succeed until 1929, and also of Roscoe (Fatty) Arbuckle, who made his debut in Mack Sennett's Keystone comedies.
By then, Stroheim emigrated from Austria to the United States, while another Viennese, Fritz Lang, very young, are discovering the film.
In France, Méliès presents Locataire Le Diabolique , while consolidating its stage Chomón French Voyage dans la lune . Max Linder plays love surprises . The most interesting in France, however, are the work of Emile Cohl, with titles such as Le ratelier or animation silhouettes féeriques Les lunettes. For the Gaumont, Louis Feuillade presents fanciful films like Le printemps , a few years before boarding their "pieces of life" in the series La vie est telle qu'elle , 1911, and his famous serial, from 1913. In Italy in the year of the appearance of the Futurist manifesto, which will later some fruit film, there are some milestones, such as conducting Nerone, by Luigi Maggi, Enrico Guazzoni hiring for Cinemas , or the debut of Francesca Bertini and Giuseppe De Liguoro, among others.
In Russia, Aleksandr Khanzhonkov producer (pictured) tries to compete with French productions, inspired them with historical and literary issues, but national. For him work from that year the directors Vassili Goncharov (with Mazepa) or Petr Tchardynine (with A Russian wedding XVI century). It will also give the opportunity to debut that year to actor Ivan Mosjoukine, which will have a major career both in Russia and France. Also that year is the debut of Yakov Protazanov with Bachisarai The source . One of the most persecuted by Russian filmmakers in those years is the writer Leo Tolstoy, as a national symbol, to whom you want to image and engage in projects which, posthumously (1910), is scored by advertising the task direction. One of the few films that manages to capture the writer in his last moments belong to that year. In Denmark the Nordisk and especially Viggo Larssen continue their success, while the chance you want the international figure in the future Danish film, Carl Theodor Dreyer, briefly appears in a documentary film of 1909 , covering as a young journalist with the arrival of a personality.
In the UK, approving the Cinematograph Act, which became law the following year, which attempted to regulate the projection of national films in theaters and curb growing influx them foreign films, especially Italian and Danish. British productions that year, without a doubt the most curious is The Airship Destroyer (pictured), also known as Battle in the Clouds, an early science fiction film that imagines what it would be a air war, a few years before it is put into practice in the Great War. In Spain, Fructuós Gelabert, Ricardo Baños Alberto Marro or Narciso whose wheels some interesting titles, but perhaps the film of the year is the document that rolls over Serra Gaspar Tragic Week, Movie known, among other titles, Barcelona events or The Tragic Week in Barcelona .
In Portugal, Joao Correia Freire Film Portugalia founded in 1909 and that same year deals with the national production of the first fictional film, I Crimes Diogo Alves, Joao Tavares finally led in 1911.
In Latin America, some Italian filmmakers trigger national cinema from Argentina, Brazil and Bolivia.
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