This study has placed Paul in a long tradition of inventive experimentation with spectacle and technology centred on London, arguing that he should be acknowledged one of the key pioneers of what became cinema. It has stressed how his engineer’s training encouraged him to develop early film forms, seeking to increase audience engagement, alongside his continuous efforts to improve film apparatus. If these achievements have not been widely recognised, this reflects Britain’s unevenly divided attitude towards literary culture rather than science, as well as its uneasy relationship with film as a technology-based popular art. However, with growing appreciation of the material basis of modern media, and the readier access to their archaeology afforded by digital media, wider recognition of Paul’s significance may finally be possible.
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