One of the first “moving pictures” ever created is a moving picture of a horse. In the late 1870s, the photographer Eadweard Muybridge produced a series of “chronophotographs” of horses and riders, including the famous 12-frame sequence Sallie Gardner at a Gallop. I know about Muybridge’s work thanks to Jordan Peele’s film Nope, which considers the historical erasure of Sallie Gardner’s Black jockey, whose identity is disputed. Another thing that easily gets overlooked when considering these images is their contribution to the practice of horse-breeding.
Muybridge – who, incidentally, murdered his wife’s lover, which doesn’t seem wholly irrelevant here – captured the images after many years of tinkering with shutters, triggers and emulsions, but they were commissioned by the industrialist Leland Stanford, founder of the university of the same name. Stanford kept racehorses, and wanted a more precise understanding of their movements, with the obvious wider motive of being able to raise more champions; nowadays, gait analysis by means of video capture is commonplace among breeders. Muybridge’s breakthrough in terms of photographic reproduction is thus an important development in control of equine reproduction. To stretch that point a little, you could argue that the moving picture has always been a way of disciplining sex – and one animal may seem much like another, once reduced to a quantity of frames.
