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| Introduction: Distribution - preliminary notes | |
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| Networks: Distribution across borders | |
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| Rethinking Boundaries. The first moving images between Spain and Portugal | |
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| What imports may not be able to tell us about the emergence of the last-minute rescue narrative in the American cinema | |
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| 'Avoid giving wine to children': George Kleine's correspondence with Cines and the discourse of uplift | |
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| Film colour and national cinema before WWI: Pathecolor in the United States and Great Britain | |
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| Networks: Regional distribution and the problem of the national | |
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| La distribution dans la region Lyonnaise: entre specificites locales et strategies nationales (1908-1914) | |
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| Une diffusion "nationale"? De la circulation d'images locales ou nationales a Lausanne 1896-1914 | |
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| De l'independance a l'absorption: le cas quebecois | |
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| Araignees et mouches: la formation du "systeme cinema" et les debuts de la distribution cinematographique en Espagne, 1906-1921 | |
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| Censorship and film distribution in Russia: 1908-1914 | |
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| The "backbone" of the business: Scanning signs of US film distribution in the newspapers, 1911-1914 | |
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| Mapping the moving picture world: distribution in the United States circa 1915 | |
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| Networks: Local actors | |
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| 'Mr. Elliot Books Chaplins Direct': Essanay's Exclusive's Strategy in Southampton 1915 | |
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| "Zeppelin uber Berlin" - on the distribution of an early media event | |
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| "The Audience Feels rather at Home ...": Peter Marzen's 'Localisation' of Film Exhibition in Trier | |
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| Local distribution: The case of Jens Christian Gundersen in Norway | |
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| Infrastructure, open system and the take-off phase. Jean Desmet as a case for early distribution in the Netherlands | |
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| Practices: Distribution strategies | |
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| Politics, steam and scopes; marketing the Biograph | |
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| The price of independence: The Rolin Film Company's quest for distribution | |
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| Distribution serielle et synchronisation du spectateur aux premiers temps du cinema | |
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| Monopolizing episodic adventures: series and seriality in Germany, 1914-20 | |
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| Practices: Distribution paratexts | |
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| Les consignes de l'[double left angle bracket]editeur[double right angle bracket] pour l'assemblage des vues dans les catalogues de distribution | |
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| Cataloging contingency | |
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| Comparing catalogues | |
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| "As pleasing as it is incomprehensible": film catalogues as paratext | |
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| "Liste fur gebrauchte Films zum Verkauf": Used Films for Sale in Germany and Austro-Hungary (1911-13) | |
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| Practices: Non-theatrical distribution | |
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| Sunday and Holy Days | |
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| Local entertainment and national patriotism: the distribution of colonial films in Early German cinema | |
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| Early forms of film distribution in Germany, 1896-1905 | |
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| 'Just like a Public Library maintained for public welfare': 28mm as a comprehensive service strategy for non-theatrical clientele, 1912-23 | |
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| Bringing movies into the home: distribution strategies for 17.5 mm film (1903-08) | |
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| Practices: Distribution into the future | |
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| 'Avant-guerre' and the international avant-garde. Circulation and programming of early films in the European avant-garde programs in the 1920s and 1930s | |
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| The imagination of wireless distribution | |
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| Les films impossibles ou les possibilites du cinema | |
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| Any ID? Building a database out of the Jean Desmet archive | |
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| Des fragments des premiers temps a l'esthetique de la ruine | |
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| Conclusion: Distribuer les films ou distribuer les roles? | |
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| Afterthoughts: Beyond distribution: some thoughts on the future of archival films | |
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| The Authors | |