#OTD 1926, newspapers reported on the second fire in an Irish cinema in a week, when the projection room combustion of America (US: Griffith,1924) at Limerick's Tivoli Picture House caused a panic in which a boy was hospitalized after being trampled. Images: Liberator & Irish News. #EarlyIrishCinema

On 22 July 1926, Birr's Rialto Cinema was showing The Shadow of the East (US: Fox, 1924), "another sensation by the author of the Sheik," starring Frank Mayo, Mildred Harris and Evelyn Brent. Images: Offaly Chronicle and Wikipedia. #EarlyIrishCinema

This week 1926, the Irish Times' critic offered little praise for film of the week School for Wives (US: Halperin, 1925) at Dublin's Carlton, while the Evening Herald's critic seemed to enjoy Lady Robinhood (US: Robertson-Cole, 1925) at the Metropole. Images: Times, Herald & IMDb. #EarlyIrishCinema

On 20 July 1926, proprietor Michael J. McGrath and projectionist James Joyce received minor injuries when Galway's Victoria cinema burned to the ground following an outbreak of fire caused by an electric fault in the projection box. Images: Cork Examiner & Connacht Tribune. #EarlyIrishCinema

On 15 July 1926, Clonmel's Magner's Theatre was showing The Great Divide (US: Metro-Goldwyn, 1925), based on William Vaughn Moody's play and starring Alice Terry, Conway Tearle and Wallace Beery in a "glorious film epic of the Golden West." Images: Nationalist and IMDb. #EarlyIrishCinema

On 1 July 1926, Belfast's Classic cinema was showing Rose of the World (US: Warner, 1925), with Patsy Ruth Miller, as well as promoting the fact that the public would be allowed to attend with the 300 sailors being entertained the following day. Images: Belfast News-Letter & IMDb. #EarlyIrishCinema

On 18 Jun 1926, Thurles's National Theatre was showing a bill headed by Human Destinies (AKA Johan Ulfstjerna; Sweden: Svensk Filmindustri, 1923), while the New Cinema offered The Four Flusher (AKA Bluff; US: Paramount, 1924). Images: Tipperary Star and IMDb. #EarlyIrishCinema

On 16 June 1926, Longford's Cinema offered a special attraction for Races Week, Riders Up (US: Universal, 1924), "the greatest and most thrilling Race Picture that has yet been brought to Longford". With this screening, weekday cinema would end for the summer period. #EarlyIrishCinema

On 15 June 1926, monumental sculptor Edmund Sharp sued cinema owner Isaac Eppel for attaching advertising boards featuring Charlie Chaplin and other film celebrities outside the Palace Cinema in Dublin's Pearse Street thereby "screening" Sharp's business. Image: Evening Herald. #EarlyIrishCinema

#OTD 1926, Cavan's Town Hall had the latest screening of Irish Destiny (Ireland: Eppel, 1926), following a two-day run in Kells earlier in the week. "The story deals with the troublous times during the Black-and-Tan era...It is the best Irish film we have." #EarlyIrishCinema

Irish Destiny (Ireland: Eppel, 1926) was showing this week at Cork's Coliseum. "Undoubted one of the strongest attractions that has come to Cork.. [it] pourtrays the best elements of the struggle that Ireland has endured." Images: Irish Examiner & framegrab. #EarlyIrishCinema

#OTD 1926, Syd Chaplin's The Man on the Box (US: Warner, 1925) was the Evening Herald's Picture of the Week: "While Charlie has created one of the greatest clowns of all time, Syd has made himself distinguished as one of the most brilliant comedians of the film industry." 📷: IMDb. #EarlyIrishCinema

Still on the trail of turn-of-the-century medicine man Dr Gerald Macaura and his cure-all vibrator, and today I got to Newcastle (online) where the Evening Chronicle in August 1906 has this exciting image. Be like Gerald and try a vibrator; it's good for what ails you.

The IFI's annual Spotlight on Irish cinema and television this morning, introduced by Ross Keane, and with contributions from Barry Monahan, Anthony McIntyre, Susan Daly, Daniel Hegarty, Charlene Lydon and Aoife Barry.

Among the films showing at Belfast's cinemas #OTD 1926 were Déclassé (US: Connie Griffith, 1925) at the Picturedrome the Mount and Madonna of the Streets (US: Edwin Carewe, 1924), with Nazimova, at the Coliseum. Images: Irish News and IMDb. #EarlyIrishCinema

#OTD 1926, Birr's Rialto Cinema had Waking Up the Town (US: Pickford, 1925), with Jack PIckford. Its Midland Tribune ad adjoined an editorial on the census, which "will be consulted for years to come by those interested in questions of national, social and industrial interest." #EarlyIrishCinema

My first visit to the incredible Cinema Museum for the British Silent Film Festival Symposium. Big thanks to Lawrence Napper and other organizers; great to see so many of the silent film heads; and h/t Peter Yeandle for the photo.

Final panel of the British Silent Film Festival Symposium at the Cinema Museum, featuring Ayan Dawn, Deborah Allison, Lisa Stein Haven and John Wyver.

Special panel at the British Silent Film Festival Symposium featuring Toby Haggith and Stephen Horne presenting a screening of Peace on the Western Front.

Second panel of the British Silent Film Festival Symposium at the Cinema Museum, featuring Andrew Shail, Stephen Bottomore, Geoff Brown and Cole Diment.

First panel of the British Silent Film Festival Symposium at the Cinema Museum, featuring Peter Yeandle, Malcolm Cook, Mario Slugan, Robert Shail and Irfan Shah.

Irish film censor James Montgomery told Irish Independent columnist John Brennan #OTD 1926 that "we used to be afraid of the Anglicisation of Ireland...to-day we have as much to fear from the Los Angelesisation of Ireland." #EarlyIrishCinena

This weekend 1926, Irish Destiny (Eppels: Ireland, 1926) had its premiere at Dublin's Corinthian. "It is but natural that the film should be such an attraction to Irishmen..The story deals with the troublous times during the Black-and-Tan era." Images: Evening Herald & IMDb. #EarlyIrishCinema

#OTD 1926, many of Cork's cinema and theatres, including the Pavilion and the Coliseum, were closed for Easter and wouldn't reopen until the weekend. Images: Cork Examiner and National Library of Ireland on Flickr Commons. #EarlyIrishCinema

Following So This Is Hollywood (AKA In Hollywood with Potash and Perlmutter; US: Goldwyn, 1924) earlier in the week, Omagh's Picture ended this week 1926 with The Silent Stranger (US: Brown, 1924) with "world champion athlete" Fred Thomson. Images: Ulster Herald & IMDb. #EarlyIrishCinema

#OTD 1926, the Evening Herald's critic unfavorably reviewed the trade show of new Irish production Irish Destiny (Eppels, 1926) at Dublin's Metropole : "Frankly, we were not impressed by the production...we came away unconvinced by the story or the theme." Images: Herald & IMDb. #EarlyIrishCinema

On 18 March 1926, Birr's Picturedrome offered The Lost Chord (US: Chord, 1925), based on Arthur Sullivan's song, which was sung by Birr resident J.A. Hernon: "clean, heart-gripping interest, with a beautiful story of love and sacrifice." Images: Offaly Independent & IMDb. #EarlyIrishCinema

On 12 March 1926, Belfast's Classic advertised not only its double bill of The Unholy Three (US: MGM, 1925), starring Lon Chaney and King of the Castle (UK: Stoll, 1925), with Marjorie Hume, but also its many feature attractions. Images: Irish News, IMDb & Bioscope. #EarlyIrishCinema

On 2 March 1926, Belfast's Diamond Picture House was showing Capital Punishment (US: Schulberg, 1925), which "possesses a perennial interest [and] is remarkable for the extreme realism of the interpretations given by the twelve stars," including Clara Bow. Images: Irish News & IMDb #EarlyIrishCinema

#OTD 1926, a full house and seashore backdrop were the order of the day when the court in Castleisland, Co. Kerry moved from their usual billiard-room venue to the local cinema, where the justice and press occupied the stage and the solicitors sat in the stalls. Image: Kerry News. #EarlyIrishCinema