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| Interrogating the National | |
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| Early cinema as global cinema: The encyclopedic ambition | |
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| Nationalizing attractions | |
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| Images of the National in early non-fiction films | |
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| National and racial landscapes and the photographic form | |
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| Sound-on-disc:Cinema and Electrification in Britain, France, Germany, and the United States | |
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| Mind-reading/mind-speaking: Dialogue inThe Birth of a Nation(1915) and the emergence of speech in American silent cinema | |
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| Living Canada: Selling the Nation throughImages | |
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| Early cinema and the Polish question | |
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| Colonialism/Imperialism | |
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| Our Navyand patriotic entertainment in Brighton at the start of the Boer War | |
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| An England of our Dreams?: Early Patriotic Entertainments with Film in Britain during the Anglo-Boer War | |
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| The transport of audiences: making cinema National | |
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| Enlisting early cinema in the service of la plus grande France | |
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| Teaching citizenship via celluloid | |
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| Fights of Nationsand national fights | |
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| Japan onAmerican screens, 1908-1915 | |
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| Locating/Relocating the National in Film Exhibition | |
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| Nationalist film-going without Canadian-made films? | |
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| The cinema arrives inItaly: city, region and nation in early film discourse | |
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| Wondrous pictures in Istanbul: from cosmopolitanism to nationalism | |
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| The emergence of nationally specific film cultures in Europe, 1911-1914 | |
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| The Norwegian municipal cinema system and the development of a national cinema | |
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| Spanish lecturers and their relations with the national | |
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| Joseph Dumais and the language of French-Canadian silent cinema | |
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| Localizing serials: Translating daily life inLes Mysteres de New-York(1915) | |
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| Genre and the National24 Amanda Keeler ? Seeing the world while staying at home: slapstick, modernity and American-ness | |
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| A Purely American Product: tramp comedy and white working-class formation in the 1910s | |
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| The Chinese conjurer: orientalist magic in variety theater and the trick film | |
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| A note on the national character of early popular science films | |
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| European melodramas and World War I: narrated time and historical time as reflections of national identity | |
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| Cow-punchers, bull-whackers and tin horn gamblers: generic formulae, sensational literature, and early American cinema | |
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| Early ethnographic film and the museum | |
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| Black hair, black eyes, black heart: Theda Bara and race suicide panic | |
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| Who is the right star to adore? Nationality, masculinity and the female cinema audience in Germany during World War I | |
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| Memory, Imagination, and the National | |
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| From Switzerland to Italy and all around the world: the Joseph Joye and Davide Turconi collections | |
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| The imagination of early Hollywood: movie-land and the magic cities, 1914-1916 | |
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