wine and a glass, a top hat, and a cigar. During the film he appears to remove the wine, glass, hat, and cigar as real objects, and the face appears to react. The "animation" here is of the stop-action variety, where the camera is stopped, a single change is made, and the camera is then started again. The process was first used by Georges Méliès and others. The transition to stop-motion was apparently accidental, and occurred around 1905. According to Albert Smith, one day the crew was filming a complex series of stop-action effects on the roof while steam from the building's generator was billowing in the background. On playing the film back, Smith noticed the odd effect created by the steam puffs scooting across the screen and decided to reproduce it deliberately. A few films (some of which are lost) use this effect to represent invisible ghosts, or to have toys come to life. In 1906, Blackton directed Humorous Phases of Funny Faces, which uses stop-motion as well as stick puppetry to produce a series of effects. After Blackton's hand draws two faces on a chalkboard, they appear to come to life and engage in antics. Most of the film uses live action effects instead of animation, but nevertheless this film had a huge effect in stimulating the creation of animated films in America. In Europe, the same effect was had from The Haunted Hotel (1907), another Vitagraph short directed by Blackton. The Haunted Hotel was mostly live-action, about a tourist spending the night in an inn run by invisible spirits. Most of the effects are also live-action (wires and such), but one scene of a dinner making itself was done using stop-motion, and was presented in a tight close-up that allowed budding animators to study it for technique. Blackton made another animated film that has survived, 1907's Lightning Sketches, but it has nothing to add to the art of animation. In 1908 he made the first American film version of Romeo and Juliet, filmed in New York City's Central Park and The Thieving Hand, filmed in Flatbush, Brooklyn. By 1909, Blackton was too absorbed in the business of running Vitagraph to have time for filmmaking. He came to regard his animation experiments in particular as being rather juvenile (they receive no mention in his unpublished autobiography). Dramatic films and later life Stuart Blackton believed that the US should