among the first in which camera movement is involved. James H. White's' Panoramic View of the Champs Elysees (1900) appears to have been shot from a horse-drawn carriage. More notable examples include Frederick S. Armitage and A. E. Weed's Down the Hudson (1903), and several films by G. W. Billy Bitzer, Interior N.Y. Subway, 14th St. to 42nd St (1905), which was shot from the front of a New York City Subway car shortly after the system first opened. One notable traveling actuality is the Miles Brothers' Trip Down Market Street Before the Fire (1906), which was shot on a San Francisco streetcar and dropped off for processing on the day before an earthquake and fire severely damaged the city. Related genres Certain types of early films often considered within the actuality genre are merely related forms and do not entirely belong to the designation. While sporting events—particularly boat and yacht races—are within the actuality genre, fight films constitute their own genre. The first fight films, such as Edison's The Hornbacker-Murphy Fight (1894) actually precede the advent of actualities altogether and, as the genre evolved through 1916, consisted of a mixture of actual, reenacted, and staged bouts. The fixed camera position common in early cinema was a good match for taking in even many rounds of boxing, and interest in such subjects was further supported by the fact that boxing itself was illegal in most places, and the films provided access to such entertainment where live boxing matches were prohibited by law. Reconstructions of various kinds typify early kinds of news coverage; as the camera could not be brought to so many events of public significance or interest, the events were brought before the cameras, with actors or models or both of various kinds employed. This was especially common during the Spanish–American War; although cameras were dispatched to the front in Cuba, the footage sent back was often disappointing, so it was more effective to find a setting in New Jersey and to restage the battle scenes with actors. These films were often promoted to exhibitors and the public alike as an actual recording of the event depicted. Decline In 1904, American-born English film-maker Charles Urban produced Everyday London, a 12-minute travelogue designed to provide views of England to Australians. This film is an actual documentary; although rather roughly assembled, it consists of a great many short shots and is