| |
| |
| List of illustrations | |
| |
| |
| Notes on contributors | |
| |
| |
| Acknowledgements | |
| |
| |
| Introduction | |
| |
| |
| |
| Prologue: Introduction | |
| |
| |
| |
| At the Beginning: Motion Picture Production, Representation and Ideology at the Edison and Lumiere Companies | |
| |
| |
| |
| |
| Film projection and variety shows | |
| |
| |
| Introduction | |
| |
| |
| |
| "Now You See It, Now You Don't": The Temporality of the Cinema of Attractions | |
| |
| |
| |
| |
| The Kiss in the Tunnel (1899), G. A. Smith and the Emergence of the Edited Film in England | |
| |
| |
| |
| |
| The Cinema of Attractions in France, 1896-1904 | |
| |
| |
| |
| |
| Storytelling and the nickelodeon | |
| |
| |
| Introduction | |
| |
| |
| |
| Moving Towards Fictional Narratives: Story Films Become the Dominant Product, 1903-1904 | |
| |
| |
| |
| |
| Pathe Goes to Town: French Films Create a Market for the Nickelodeon, 1903-1906 | |
| |
| |
| |
| |
| Manhattan Nickelodeons: New Data on Audiences and Exhibitors | |
| |
| |
| |
| |
| Cinema and reform | |
| |
| |
| Introduction | |
| |
| |
| |
| From the Opium Den to the Theatre of Morality: Moral Discourse and the Film Process in Early American Cinema | |
| |
| |
| |
| |
| How Many Times Shall Caesar Bleed in Sport: Shakespeare and the Cultural Debate about Moving Pictures | |
| |
| |
| |
| |
| Fighting Films: Race, Morality, and the Governing of Cinema, 1912-1915 | |
| |
| |
| |
| |
| Feature films and cinema programmes | |
| |
| |
| Introduction | |
| |
| |
| |
| A Star is Born: American Culture and the Dynamics of Charlie Chaplin's Star Image, 1913-1916 | |
| |
| |
| |
| |
| An Awful Struggle Between Love and Ambition: Serial Heroines, Serial Stars and Their Female Fans | |
| |
| |
| |
| |
| Traffic in Souls (1913): An Experiment in Feature-Length Narrative Construction | |
| |
| |
| |
| |
| Race, Melodrama, and the Birth of a Nation (1915) | |
| |
| |
| |
| |
| The International Exploration of Cinematic Expressivity | |
| |
| |
| |
| |
| Classical Hollywood cinema | |
| |
| |
| Introduction | |
| |
| |
| |
| The Making of a Comic Star: Buster Keaton and the Saphead (1920) | |
| |
| |
| |
| |
| "The Perfect Lover"?: Valentino and Ethnic Masculinity in the 1920s | |
| |
| |
| |
| |
| The New Woman and Consumer Culture: Cecil B. DeMille's Sex Comedies | |
| |
| |
| |
| |
| The Open Door: Hollywood's Public Relations at Home and Abroad, 1922-1928 | |
| |
| |
| |
| |
| European cinemas | |
| |
| |
| Introduction | |
| |
| |
| |
| New Notes on Russian Film Culture Between 1908 and 1919 | |
| |
| |
| |
| |
| Early Alternatives to the Hollywood Mode of Production: Implications for Europe's Avant-Gardes | |
| |
| |
| |
| |
| Monumental Heroics: Form and style in Eisenstein's Silent Films | |
| |
| |
| |
| |
| Art and Industry: German Cinema of the 1920s | |
| |
| |
| |
| Bibliography | |
| |
| |
| Index | |