When the Lumière brothers of France premiered their first motion picture footage in Paris on December 28, 1895, they did not know how rapidly it would ignite a new age of photographic documentation.

The Folk Dance of Caucasus was later used in a documentary, and the scenes from The Oil Gush Fire in Bibiheybat were shown in France in 1995, in a film commemorating the 100th anniversary of world cinema.

These films of the Caucasus and Central Asia have been prepared for the forthcoming International Paris Exhibition and will be presented only once in Baku at the V. I. Vasilyev-Vyatski Circus Theater.

The event was an enormous success and Michon repeated it on August 5, replacing the final two works with those showing life in Balakhani outside of Baku.

"Folk Dance of the Caucasus" was later used in a documentary and scenes from "Oil Gush Fire in Bibi-Heybat" were shown in France in 1995, in a film commemorating the 100th anniversary of world cinema.

On November 27, 1899 writer, scientist and social activist Hasan Zardabi in the "Kaspi" entitled an article in which he wrote, "Now we have in our hands a toy machine-called "kinemato-graphe".

They invited film director Boris Svetlov from St. Petersburg (Russia) to work for them and produce The Woman, An Hour before His Death and An Old Story in a New Manner.

The People's Education Commissariat, which functioned somewhat like a Ministry, created an art department which included a film section headed by Hanafi Teregulov and Muslim Magomayev, a notable composer and opera singer.

Thus, a new epoch in the history of Azerbaijani cinema began – a period when Soviet ideology, not individual entrepreneurship, dominated the film industry.

[13] Now that the USSR does not exist anymore, Azerbaijani filmmakers are again dealing with issues similar to those faced by cinematographers prior to the establishment of the Soviet Union in 1920.