
However, later trick films begin to abandon the “one-shot” principle. In Congress of Nations (1900), there are two distinct conceptual shots of the same scene; the viewer can tell that they are two separate shots because they are separated by a noticeable dissolve. In the first shot, the magician conjures up nationals of several different countries; this dissolves into the second shot, wherein the magician is gone, replaced by a tableau of characters. Likewise, in the later film The Martyred Presidents (1901), there are two separate scenes (shots) separated by a dissolve. It also begins to signify a break from the cinematic tradition of old towards the newer dramatic format. The film, which was released after the assassination of President William McKinley, does tell a sort of story; the first scene (shot) shows a series of pictures of murdered Presidents, and the second shows McKinley’s murderer kneeling at “the throne of Justice” in a sort of repentance for his sin. In this film, a technologically innovative matte effect is also used, where the main shot of the woman looking at the frame overlays a second shot that contains the images of the Presidents.
Edison’s trick films shared many characteristics with earlier trick films by George Méliès and Alice Guy-Blaché, who he liberally borrowed from. Just like Méliès’s early trick films, Edison’s are short and filmed from the perspective of a center-front-row theatergoer. However, Edison’s later trick films begin to copy innovations made by Méliès, such as longer-form multiple-shot and multiple-scene films that become less about surprising illusions and more about narratives.

In this reading from Aristotle’s Nicomachean Ethics, he makes several claims regarding the nature of virtue. In Book I, he first claims that all human actions are undertaken to fulfill one basic, intrinsic desire: that of happiness. Secondly, he contends that to be happy, a human person must live a fulfilled life, a good life. Thirdly, he states that the good human life is one that is rational and, therefore, virtuous. In Book II, Aristotle derives his definition of virtue. There are two main parts to his definition of virtue; he contends that virtue is attained not only through knowledge (as Socrates did), but also through habitual action. He also claims that virtue is a means between excess and defect (similar to Confucius). An example of this mean would be courage; an excess of it may be termed rashness and a defect of it may be called cowardice. Finally, he points out that some traits are purely vices and do not have a mean; for example, there is no right degree with which somebody should be a murderer. 
One of this passage’s key quotations is: “It is well said, then, that it is by doing just acts the that the just man is produced and by doing temperate acts the temperate man; without doing these no one would have even a prospect of becoming good.”