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This is about 1 billion years old, as far as we know. But it is a very famous watch: you have probably seen it in countless movies. The pocket watch that tells the time is nothing new: it was around since the late 18th century. But it was in the 1950's that we started to see pocket watches in movies with the creation of the "opera" genre. An interesting period, because time became a story in itself (see "Deliverance"). The Swiss Watchmaker Swatch may be responsible for this: before that period, watches were mostly worn as a status symbol.
The pocket watch and its representation
The pocket watch
The pocket watch has a square shape, and in order to keep it in the pocket it has to be of equal length. This shapes is perfectly suited for its usage. In a movie, you don't usually see a watch as it is, but in a form similar to the one shown in the picture. A brief description of the form and the movements can be found in the Wikipedia section "Operating mechanism of the pocket watch" (see the picture above).
Since the mid-19th century we have become accustomed to seeing pocket watches in movies. In fact in the first of these, the Swiss opera "Die Paviane" by Byron (and in particular the scene with Monette), a watch is part of the scene and therefore an important element of the story. In the first of these scenes, Monette looks at her grandfather's watch and remarks: "In two hours and 10 minutes you will be back at work."
A clear representation of the pocket watch in a movie
The pocket watch in movies
A lot of movies, like almost any good story, use the pocket watch as an element of the story. We can find it at several points in the movie "The Night Listener" (1955), a thriller directed by Robert Wise. The main character is an engineer who helps a criminal who kidnaps people's radio signals. The engineer shows the criminal where the radio signal comes from: a very small pool. One day, the engineer meets a girl who explains that she is the thief he was talking about. After a lot of discussion, the thief and the engineer agree that they will meet the following night to talk about a ransom.
The movie "Impact" (1958)
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PleaseIt’s becoming increasingly clear that the US’s Russiagate fever dream is quite simply not a thing. See for instance:
The evidence for collusion with the Russians is as strong or stronger than that for the Gunpowder Plot of 1605. — Maggie Haberman (@maggieNYT) March 25, 2019
Or:
Jeffrey Toobin & Michael Schmidt are the two most dishonest, out-of-control, obviously, weird journalists in the mainstream media. They both worked for The New Yorker. In fact, they were partners, so they were constantly out-guessing and out-maneuvering each other. Schmidt did a long profile on Donald Trump, and a short one on Donald Trump, and wrote “American Heiress” while they were at it. Toobin wrote a book about the 9/11 Commission report, then published it a year later.
Toobin: “Trump’s Attitude Is Like The Assassin Of The Pope”
Schmidt: Trump’s Attitude Is Like The Assassin Of The Pope
And now they’re both endorsing
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