By the beginning of 1896, Edison had turned his attention to promoting a projector technology, the Photoscope, developed by young inventors Charles Jenkins . The rights to the system had been acquired by Charles and Gammon, who redubbed it the Vitascope and arranged with Edison to present himself as its creator. With Dickson having left his employ, the Kinetophone was soon mothballed and Edison suspended work on sound cinema for an extended period. Departing the Vitascope operation after little more than a year, Edison commissioned the development of his own projection systems, the Projectoscope and then multiple iterations of the Projecting Kinetoscope. In 1912, he introduced the ambitious and expensive Home Projecting Kinetoscope, which employed a unique format of three parallel columns of sequential frames on one strip of film—the middle column ran through the machine in the reverse direction from its neighbors. It was a commercial failure. Four years later, the Edison operation came out with its last substantial new film exhibition technology, a short-lived theatrical system called the Super Kinetoscope. Much of the Edison company's most creative work in the motion picture field from 1897 on involved the use of Kinetoscope-related patents in threatened or actual lawsuits for the purpose of financially pressuring or blocking commercial rivals.