In the early years of American cinema, Thomas Edison’s Motion Picture Patents Company attempted to control the industry through patents, licensing agreements, and exclusive access to essential equipment and raw film stock. Jules Brulatour became one of the most important figures in the independent counterattack. As the American distributor for Lumiere film stock, he supplied filmmakers who had been shut out of Edison’s tightly controlled system through Carl Laemmle’s Motion Picture Distributing and Sales Company, formed in 1909. The arrangement weakened the Patents Company’s economic grip by giving independent producers a reliable source of raw stock outside the Edison-aligned network. George Eastman initially supplied film to the Patents Company, but after recognizing that the independents were gaining ground, he negotiated with Brulatour to sell Kodak stock through the Sales Company as well. Brulatour thus became an unusually powerful broker between rival factions of the infant film business. His alliance with Laemmle helped produce the Universal Film Manufacturing Company in 1912, an amalgamation of independent studios that eventually became Universal Pictures. Although Brulatour resigned as Universal’s first president after Eastman accused him of a conflict of interest, the consolidation helped establish the studio system that would later dominate Hollywood.
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