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CINEMA & ANIMATION PUBLICATIONS |
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Animation Books New Animation title to appear shortly REPLACE ABOVE WITH LIST OF ISSUES AND HOTLINKS |
Film History Volume 1, Number 1, 1987 ‘We Can’t Get Much Spinach’: The Organization and Implementation of the Fleischer Animation Strike, by Harvey Deneroff Jack London and the Movies, by Robert S. Birchard A World Across from Broadway: The Shuberts and the Movies, by Kevin Lewis G.W. Pabst in Hollywood, by Jan-Christopher Horak ‘No Problems. They Liked What They Saw on the Screen’: An Interview with Joseph Ruttenberg, by Richard and Diane Koszarski Volume 1, Number 2, 1987 The Western, 1909–1914: A Cast of Villains, by Peter Stanfield Hungry Hearts: A Hollywood Social Problem Film of the 1920s, by Kevin Brownlow National Film and Video Storage Survey Report and Results, by Stephen Gong French and British Influences in Porter’s American Fireman, by Martin Sopocy Commercial Propaganda in the Silent Film: A Case Study of A Mormon Maid, by Richard Alan Nelson A World Across from Broadway (II): Filmography of the World Film Corporation, 1913–1922, by Kevin Lewis Volume 1, Number 3, 1987 United States of America vs. Motion Picture Patents Company and others: Brief for the United States Volume 1, Number 4, 1987 Between Reform and Regulation: The Struggle Over Film Censorship in Progressive America, 1909–1922, by Nancy Rosenbloom Marriage – The Ideal and the Reel: or, The Cinematic Marriage Manual, by Lisa L. Rudman The Hand That Rocks The Cradle: An Introduction, by Kay Sloan The Hand That Rocks The Cradle: The Original Continuity, by Lois Weber and Phillips Smalley The Production of George Stoney’s Film All My Babies: A Midwife’s Own Story, by Lynne Jackson Review – Before Hollywood: Turn-of-the-Century Film From American Archives, by Robert S. Birchard Volume 2, Number 1, 1988 The Armat-Jenkins Dispute and the Museums, by H. Mark Gosser The Moving Picture World of W. Stephen Bush, by Richard L. Stromgren The Black Action Film: The End of the Patiently Enduring Black Hero, by Mark A. Reid Early Home Cinema and the Edison Home Projecting Kinetoscope, by Ben Singer The Great Northern Film Company: Nordisk Film in the American Motion Picture Market, by Ron Mottram NR = MC2: Rossellini, Neo-Realism, and Croce, by Tag Gallagher Volume 2, Number 2, 1988 Life After Divorce: The Corporate Strategy of Paramount Pictures Corporation in the 1950s, by Timothy R. White Labor Power and Organization in the Early U.S. Motion Picture Industry, by Michael C. Nielsen Include Me Out: Samuel Goldwyn and Joe Godsol, by Kevin Lewis and Arnold Lewis Cabiria, an Incomplete Masterpiece: The Quest for the Original 1914 Version, by Paolo Cherchi Usai From Edendale to E.H. Allen: An Interview with Jack White, by David N. Bruskin Volume 2, Number 3, 1988 The Making (and Unmaking) of Pull My Daisy, by Blaine Allan Dollars and Ideology: Will Hays’ Economic Foreign Policy, 1922–1945, by Ian Jarvie Cel Animation: Mass Production and Marginalization in the Animated Film Industry, by David Callahan The Key Animation Patents, by Bray-Hurd Professional Results with Amateur Ease: The Formation of Amateur Filmmaking Aesthetics, 1923–1940, by Patricia R. Zimmermann In the Morning, by Erich von Stroheim Volume 2, Number 4, 1988 The Spectre of Joan of Arc: Textual Variations in the Key Prints of Carl Dreyer’s Film, by Tony Pipolo Orson Welles, George Schaefer and It’s All True: A ‘Cursed’ Production, by Richard B. Jewell Iwasaki and the Occupied Screen, by Erik Barnouw The Development of Cinemascope, by Herbert E. Bragg The Films of Mabel Normand, by Betty Fussell Four Tributes: Jean Mitry, Jay Leyda, George Pratt and Jacques Ledoux, by William Gilcher, Elena Pinto Simon, Herbert Reynolds and William K. Everson Volume 3, Number 1, 1989 The First Moving Picture in Arizona – or Was It? The Tragic Tale of C.L. White’s Marvelous Projectoscope Show in Arizona and New Mexico Territories, 1897–1898, by George C. Hall The Edison – Biograph Patent Litigation of 1901–1907, by Martin Sopocy Crossfire and Huac: Surviving the Slings and Arrows of the Committee, by Darryl Fox Souvenir Postcards and the Development of the Star System, 1912–1914, by Q. David Bowers This Business of Motion Pictures, by Carl Laemmle Volume 3, Number 2, 1989 Phantasmagorical Wonders: The Magic Lantern Ghost Show in Nineteenth-Century America, by X. Theodore Barber Reconstructing the ‘Script in Sketch Form’: An Analysis of the Narrative Constructive and Production Design of the Fire Sequence in Gone With The Wind, by Alan David Vertrees Klever Komedies in the Great War: One Studio’s Contribution to the War Effort, by Stephen R. Webb ‘A Good Emotional Hook’: Selling Sign of the Pagan to the American Media Forty-five Years of Picture Making: An Interview with Cecil B. DeMille, by George C. Pratt with an Introduction by Herbert Reynolds The Hammond French Film Script Archive at New York University, by Robert M. Hammond Volume 3, Number 3, 1989 Hollywood Censored: The Production Code Administration and the Hollywood Film Industry, 1930–1940, by Gregory D. Black Emile Reynaud: First Motion Picture Cartoonist, by Glenn Myrent The First Cinema Shows in the Czech Lands, by Zdenek Stabla Introducing the ‘Marvellous Invention’ to the Provinces: Film Exhibition in Lexington, Kentucky, 1896–1897, by Gregory A. Waller A History of the Boxing Film, 1894–1915: Social Control and Social Reform in the Progressive Era, by Dan Streible Tom Daly’s Apprenticeship, by D.B. Jones Career in Shadows: Interview with Charles Van Enger, by Richard Koszarski Volume 3, Number 4, 1989 The Worst Location in the World: Herbert G. Ponting in the Antarctic, 1910–1912, by Dennis Lynch Liebe Macht Blind and Frans Lundberg: Some Observations on National Cinema with International Ambitions, by Jan Olsson The German Film Credit Bank, Inc: Film Financing during the First Years of National-Socialist Rule in Germany, by Wolfgang Muhl-Benninghaus Sources for Archival Research on Film and Television Propaganda in the United States, by Richard Alan Nelson An Industry in Recession: The Italian Film Industry 1908–1909, by Aldo Bernardini Volume 4, Number 1, 1990 In The District Court of the United States for the Southern District of New York: United States of America v. Paramount Pictures, Inc., et al. Equity No. 87-273 Ammended and Supplemental Complaint, November 14, 1940 Final Decree, February 8, 1950 Findings of Fact, February 8, 1950 Volume 4, Number 2, 1990 The Exhibition of Films for Japanese Americans in Los Angeles During the Silent Film Era, by Junko Ogihara Harry Buckwalter: Pioneer Colorado Filmmaker, by William Jones Disaster Spectacles at the Turn of the Century, by Andrea Stulman Dennett and Nina Warnke Effects of Censorship Pressure on the New York Nickelodeon Market, 1907–1909, by Robert A. Armour Shooting the Great War: Albert Dawson and The American Correspondent Film Company, 1914–1918, by Ron van Dopperen Fascinating Youth: The Story of the Paramount Pictures School, by J.B. Kaufman Casablanca and United States Foreign Policy, by Richard Raskin Fighting for What’s Good: Strategies of Propaganda in Lillian Hellman’s ‘Negro Picture’ and The North Star, by Brett Westbrook Volume 4, Number 3, 1990 Cecil B. DeMille and the Lasky Company: Legitimating Feature Film as Art, by Sumiko Higashi The War of the Wolves: Filming Jack London’s The Sea Wolf 1917–1920, by Tony Williams Fritz Lang’s M: A Case of Significant Film Variation, by Joseph Garncarz History and Historians in La Marseillaise, by Leger Grindon Forty Days Across America: Kiyooka Eiichi’s 1927 Travelogues, by Jeffrey K. Ruoff Synergy in 1980s Film and Music: Formula for Success or Industry Mythology?, by R. Serge Denisoff and George Plasketes Volume 4, Number 4, 1990 The Postwar Economic Foreign Policy of the American Film Industry: Europe 1945–1950, by Ian Jarvie Fritz Lang Outfoxed: The German Genius as Contract Employee, by Nick Smedley Regionalism in Disney Animation: Pink Elephants and Dumbo, by Mark Langer The Nightingale and the Beginnings of the Alco Film Corporation, by Steven Phipps D.W. Griffith’s Intolerance: Reconstructing an Unattainable Text, by Russell Merritt Volume 5, Number 1, 1993 Fritz Lang’s Trilogy: The Rise and Fall of a European Social Commentator, by Nick Smedley The Invisible Man behind Caligari, by Uli Jung and Walter Schatzberg Cecil B. Demille writes America’s history for the 1939 World Fair, by Allen W. Palmer Rin-Tin-Tin in Berlin or American Cinema in Weimar, by Jan-Christopher Horak The Erotic Melodrama in Danish Silent Films 1910–1918 by Marguerite Engberg The Roots of Travel Cinema. John L. Stoddard, E. Burton Holmes and the Nineteenth-Century Illustrated Travel Lecture, by X. Theodore Barber Witness to Hollywood: Oral Testimony and Historical Interpretation in Warren Beatty’s Reds, by Leger Grindon Showmen and Tycoons. J. J. Murdock and the International Projecting and Producing Company, by Martin Sopocy The Missing Reel. The Untold Story of the Lost Inventor of Moving Pictures, Review by Alan Kattelle Volume 5, Number 2, 1993 Animatophilia, Cultural Production and Corporate Interests: The Case of ‘Ren & Stimpy’, by Mark Langer The Invention of Plasticine and the use of Clay in Early Motion Pictures, by Michael Frierson Before Snow White, by J.B. Kaufman Phenakistoscope: 19th Century Science Turned to Animation, by Richard J Leskosky Toontown’s Reds: HUAC’S Investigation of Alleged Communists in the Animation Industry, by Karl Cohen The View from Termite Terrace: Caricature and Parody in Warner Bros Animation, by Donald Crafton ‘That Rags to Riches Stuff’: Disney’s Cinderella and the Cultural Space of Animation, by Susan Ohmer Reviews: Women & Animation: A Compendium, by Maureen Furniss The Illusion of Life: Essays on Animation, by Will Straw Felix: The Twisted Tale of the World’s Most Famous Cat, by Mark Langer Volume 5, Number 3, 1993 Bringing Vitaphone Back to Life, by Robert Gitt The Space Between the Object and the Label: Exhibiting Restored Vitaphone Films and Technology, by Steve Wurtzler The Archeology of Cinerama, by Fred Waller Sponable’s CinemaScope: An Intimate Chronology of the Invention of the CinemaScope Optical System, by Stephen Huntley The Aesthetics of Emergence, by William Paul Volume 5, Number 4, 1993 In the Belly of the Beast: The Early Years of Pathé-Frères, by Richard Abel Early Alternatives to the Hollywood Mode of Production: Implications for Europe’s Avant-Gardes, by Kristin Thompson Belasco, DeMille and the Development of Lasky Lighting, by Lea Jacobs Passions and the Passion Play: The Theatre, Film and Religion in America, 1880–1900, by Charles Musser Intimate Theatres and Imaginary Scenes: Film Exhibition in Sweden Before 1920, by John Fullerton Advertising Independence, by Charlie Keil Fiction Tie-Ins and Narrative Intelligibility 1911–18, by Ben Singer Volume 6, Number 1, 1994 Out of this world: theory fact and film history, by Stephen Bottomore Film history: or history expropriated, by Michèle Lagny The place of rhetoric in ‘new’ film historiography: the discourse of corrective revisionism, by Jeffrey F. Klenotic The power of a research tradition: prospects for progress in the study of film style, by David Bordwell Re-reading Nietzsche through Kracauer: towards a feminist perspective on film history, by Heide Schlüpmann ...film in a lifeboat? by Barry Salt Anyone for an aesthetic of film history, by Eric de Kuyper ‘Don’t know much about history’, or the (in)vested interests of doing cinema history, by Richard Abel Restoring history, by Jonathan Dennis Animal and other drives of an amateur film historian, Tom Trusky Volume 6, Number 2, 1994 ‘New theatres a boon to real estate values’, from Record and Guide When a dime could buy a dream, by Linda Woal ‘You can have the Strand in your own town’, by Kathryn Helgesen Fuller The ‘Theater Man’ and ‘The Girl in the Box Office’, by Ina Rae Hark Helping exhibitors: Pressbooks at Warner Bros. in the late 1930s, by Mark S. Miller Hub of the system, by Robert Sklar Film journeys of the Krzeminski brothers, 1900–1908 by Malgorzata Hendrykowska Telling the tale, by Vanessa Toulmin Motion picture exhibitors on Belgian fairgrounds, by Guido Convents The creation of a film culture by travelling exhibitors in rural Québec prior to World War II, by Pierre Véronneau ‘Cinefication’: Soviet film exhibition in the 1920s, by Vance Kepley,Jr Reviews: The American Film Institute Catalog: feature films 1931–40, by Richard Koszarski Hermann Hecht, Pre-Cinema History: An Encyclopaedia and Annotated Bibliography of the Moving Image Before 1896, by X. Theodore Barber Volume 6, Number 3, 1994 Resisting refinement: the exploitation film and self-censorship, by Eric Schaefer White heroines and hearts of darkness: Race, gender and disguise in 1930s jungle films, by Rhona J. Berenstein The woman on the table: Moral and medical discourse in the exploitation cinema, by Felicia Feaster MAKE LOVE MAKE WAR: Cultural confusion and the biker film cycle, by Martin Rubin The trope of Blaxploitation in critical responses to Sweetback, by Jon Hartmann Reviews: Animating culture: Hollywood cartoons from the sound era, by Susan Ohmer Volume 6, Number 4, 1994 The world as object lesson: Cinema audiences, visual culture and the St. Louis World’s Fair, by Tom Gunning The taste of a nation: Training the senses and sensibility of cinema audiences in imperial Germany, by Scott Curtis Forgotten audiences in the passion pits: Drive-in theatres and changing spectator practices in post-war America, by Mary Morley Cohen The K-mart audience at the mall movies, by William Paul Stepin Fetchit: The man, the image, and the African American press, by Charlene Regester Enemies, a love story: Von Stroheim, women, and World War I, by Lucy Fischer Reviews: Hollywood’s overseas campaign. The North Atlantic Movie Trade, by John Belton Volume 7, Number 1, 1995 Visual Style in Japanese Cinema, 1925–1945, by David Bordwell ‘From the Opium War to the Pacific War: Japanese Propaganda Films of World War II’, by David Desser Historical uses and misuses: The Janus face(s) of The Abe Clan, by Darrell William Davis From natural colour to the pure motion picture drama: The meaning of Tenkatsu company in the 1910s of Japanese film history, by Hiroshi Komatsu Seeking truth from fiction: Feature films as historiography in Deng’s China, by Chris Berry Volume 7, Number 2, 1995A CHRONOLOGY OF CINEMA 1889–1896, by Deac Rossell Volume 7, Number 3, 1995 Is film archiving a profession?, by Ray Edmondson Archives and absences, by William Uricchio The challenge of sound restoration from 1927 to digital, by Jean-Pierre Verscheure Restoration, genealogy and palimpsests. On some historiographical questions, by Giorgio Bertellini ‘The collection of rubbish.’ Animatographs, archives and arguments: London, 1896–97, by Stephen Bottomore Musicology and the presentation of silent film, by Philip C. Carli A new source of history, by Boleslas Matuszewski An outline of a project for founding the film library of the Museum of Modern Art, by John E. Abbott and Iris Barry Volume 7, Number 4, 1995 Notes of an accidental auteurist, by Andrew Sarris Geniuses of the systems: Authorship and evidence in classical Hollywood cinema, by Robert Spadoni How high was his brow? Albert Lewin, his critics and the problem of pretension, by Susan Felleman Romaine Fielding: The West’s touring auteur, by Linda Kowall Woal The misreading and rereading of African American filmmaker Oscar Micheaux, by Charlene Regester Edward D. Wood, Jr. – Some notes on a subject for further research, by Robert S. Birchard Joseph Lerner and the post-war New York film renaissance, An interview by Richard Koszarski Volume 8, Number 1, 1996 National cinema, national imaginary, by Michael Walsh Visions of a northern nation: Richard Finnie’s view of natives and development in Canada’s ‘last frontier’, by Peter Geller Keeping the home fires burning? – Women and the German homefront film 1940–1943, by Manuela von Papen Jean Renoir addresses the League of American Writers, by Christopher Faulkner From a ‘prenational’ to a ‘postnational’ French cinema, by Martine Danan Geographies of desire: cartographies of gender, race, nation and empire in amateur film, by Patricia R. Zimmermann Volume 8, Number 2, 1996 Rewriting revolution: the origins, production and reception of Viva Zapata!, by Jonathan M. Schoenwald Group Three – a lesson in state intervention?, by Simon Popple ‘A thinly disguised art veneer covering a filthy sex picture’, by Barbara Wilinsky Evelyn Nesbit and the film(ed) histories of the Thaw-White Scandal, by Stephanie Savage Warner Bros.’ Yellowstone Kelly, by Jerome Delamater The Circus: a Chaplin masterpiece, by Jeffrey Vance ‘It seems that everything looks good nowadays, as long as it is in the flesh & brownskin’, by Randy Gue Nostalgia, ambivalence, irony: Song of the South and race relations in 1946 Atlanta, by Mathew Bernstein A conversation with writer and director Kevin Smith, by Clinton Duritz, Jr. Volume 8, Number 3, 1996 ‘Consumerist realism’: American Jewish life and the classical Hollywood cinema, by David Desser National or international films? The European debate during the 1920s, by Kristin Thompson What is German in the German cinema?, by Marc Silberman The testament of Dr Goebbels, by Eric Rentschler The wise and wicked game: re-editing and Soviet film culture of the 1920s, by Yuri Tsivian Federal cinema: the Soviet film industry 1924–32, by Vance Kepley, Jr. The rediscovery of a Kuleshov experiment: a dossier, by Kristin Thompson, Yuri Tsivian and Ekaterina Khokhlova Volume 8, Number 4, 1997 German exile cinema, 1933–1950, by Jan-Christopher Horak The phantasmagoria, by Laurent Mannoni Lumière revisited, by Jacques Aumont The Lumière Cinématographe and the production of the cinema in Japan in the earliest period, by Hiroshi Komatsu Charlie Chaplin’s film heroines, by Stephen M. Weissman, M.D. The emergence of an alternative film culture: film and the British consumer Co-operative Movement before 1920, by Alan Burton Volume 9, Number 1, 1997 Legion of the condemned – why American silent films perished, by David Pierce Still in the dark – silent film audiences, by Gregg Bachman Screen images of the ‘other’ in Wilhelmine Germany & the United States, 1890–1918, by Daniel J. Leab German film censorship during World War I, by Wolfgang Mühl-Benninghaus African American extras in Hollywood during the 1920s and 1930s, by Charlene Regester Ladies of the lamp: The employment of women in the British film trade during World War I, by David R. Williams Volume 9, Number 2, 1997 The NFB is a state of mind: An interview with Ches Yetman, by Gene Walz Historicising the ‘Voice of God’: The place of vocal narration in classical documentary, by Charles Wolfe The German–Russian film (mis)alliance (Derussa): Commerce and politics in German–Soviet cinema ties, by Thomas J. Saunders If truth be told, can toons tell it? Documentary and animation, by Sybil DelGaudio Invisible footage: Industry on parade and television history, by Jason S. Mittell Volume 9, Number 3, 1997 Screenwriting for the early silent film: forgotten pioneers, 1897–1911, by Edward Azlant Written scenarios of early cinema: screenwriting practices in the first twenty years in France, by Isabelle Raynauld A screenwriting sampler from The Moving Picture World, by Epes Winthrop Sargent, Jeanie Macpherson and Lloyd Lonergan From Rip Van Winkle to Jesus of Nazareth: thoughts on the origins of the American screenplay, by Patrick Loughney ‘Have you the Power?’: The Palmer Photoplay Corporation and the film viewer/author in the 1920s, by Anne Morey Charles Bennett and the typical Hitchock scenario, by John Belton Without lying down: Frances Marion and the powerful women of early Hollywood. Book Review, by John Belton Volume 9, Number 4, 1997 The Cinematograph Act of 1909, by David R. Williams Oil upon the flames of vice: The battle over white slave films in New York City, by Shelley Stamp Lindsey Norimasa Kaeriyama and The Glory of Life. Appendix: The Glory of Life screenplay translation, by Joanne Bernardi Alias Jimmy Valentine and situational dramaturgy, by Ben Brewster Narration early in the transition to classical filmmaking: Three Vitagraph shorts, by Kristin Thompson Volume 10, Number 1, 1998 The Cambrian cinema, Stephen Bottomore Smith the showman: The early years of George Albert Smith, by Frank Gray ‘England is not big enough ...’ American rivalry in the early English film business: The case of Warwick v Urban, 1903, by Richard Brown Forgotten firm: A short chronological account of Mitchell and Kenyon, cinematographers, by Robin Whalley and Peter Worden Beyond Messter: Aspects of early cinema in Berlin, by Deac Rossell The Bazar de la Charité fire: The reality, the aftermath, the telling, by H. Mark Gosser Abraham Neufeld and the beginnings of the Zionist film, by Joseph Halachmi Eadweard Muybridge and the Kingston Museum bequest, by Paul Hill and Stephen Herbert Volume 10, Number 2, 1998 Television, film, and the struggle for media identity, by William Uricchio Coming next week: Images of television in pre-war motion pictures, by Richard Koszarski ‘Senile celluloid’: Independent exhibitors, the major studios and the fight over features on television 1939–1956, by David Pierce The birth of a new realism: Photography, painting and the advent of documentary cinema, by Anthony R. Guneratne The Kalem Company, travel, and on-location filming: The forging of an identity, by Gary W. Harner Melodrama for the master race: Two films by Detlef Sierck (Douglas Sirk), by Andrew G. Bonnell ‘Dead Champagne’: Variety’s ‘New Wave’, by Richard Neupert In memoriam: Pilar Miró (1940–1997), by Nuria Triana-Toribio Volume 10, Number 3, 1998 Love your Neighbour, by Mark Kristmanson Redeeming the captives, by Susan L. Carruthers Auteurs of ideology, by Nicholas J. Cull Bankers and common men in Bedford Falls, by John A. Knoakes From even-handedness to Red-baiting, by Daniel J. Leab Secrets, lies and Cold War politics, by G. Tom Poe The suppression of Salt of the Earth, by James J. Lorence Frank Costello’s hands, by Thomas Doherty The cinema: American weapon, by Pierre Sorlin Socialists in outer space, by Stefan Soldovieri Between Karl May and Karl Marx, by Gerd Gemünden Hellman and the Hollywood inquisition, by John Haynes Hollywood strike – October 1945, by Elaine Spiro Volume 10, Number 4, 1998 Film Literature/literature and film, by Richard Koszarski A century of cinema literature: The Film History survey Have you any books about the movies?, by Jay Leyda Death of the Cinematograph, by Karol Irzykowski ‘Carl Laemmle’s outstanding achievement’, by David Pierce The third force: Graham Greene and Joseph L. Mankiewicz’s The Quiet American, by Kevin Lewis Seduced and abandoned: When Hollywood wooed the Moscow Art Theatre, by Laurence Senelick Laemmle’s list: Carl Laemmle’s affidavits for Jewish refugeesUdo Bayer Volume 11, Number 1, 1999 A few remaining hours: News films and the interest in technology in Amsterdam film shows, 1896–1910, by Nico de Klerk Eugene Augustin Lauste: A biographical chronology, by Paul C. Spehr Eugene Augustin Lauste: Apparatus in the Smithsonian Institution, National Museum of American History, Photographic History Collection, by John Hiller Entertaining ethics: Technology, mass culture and American intellectuals of the 1930s, by Anna Siomopoulos Technology and aesthetics: Technicolor cinematography and design in the late 1930s, by Scott Higgins Colour, lines and nudes: Teaching Disney’s animators, by Richard Neupert This is Cinerama, by Hazard Reeves Paramount and early feature distribution: 1914–1921, by Michael J. Quinn Oneiric Cinema: The Woman on the Beach, by Janet Bergstrom Volume 11, Number 2, 1999 Three smart guys: How a few penniless German émigrés saved Universal Studios, by Helmut Asper & Jan-Christopher Horak From Sjöström to Seastrom, by Bo Florin Man of fortune: A sketch of Alexander Drankov’s life after Russia, by Rashit M. Yangirov Leonid Kinskey, the Hollywood foreigner, by Yuri Tsivian Cinema and censorship in the Weimar Republic: The case of Anders als die Andern, by James D. Steakley A paper print pre-history, by Charles ‘Buckey’ Grimm The political spectator: Censorship, protest and the moviegoing experience, 1912–1922, by Samantha Barbas Volume 11, Number 3, 1999 Smith versus Melbourne-Cooper: History and counter-history, by Frank Gray Chapters from the life of a camera-operator. The recollections of Anton Nöggerath – filming news and non-fiction, 1897–1908, by Edited and Introduced by Ivo Blom ‘To the World the World we Show’: early travelogues as filmed ethnography, by Alison Griffiths Early Thai cinema and filmmaking: 1897–1922, by Scot Barmé The figure seen from the rear: Vitagraph, and the development of shot/reverse shot, by Robert Spadoni The death of a stage actor; the genesis of a film, by David Mayer ‘A soul stirring appeal to every Briton’: The reception of The Birth of a Nation in Britain (1915–1916), by Michael Hammond Film history for the public: the first national movie machine collection, by John Hiller Volume 11, Number 4, 1999 Introduction, by Rick Altman and Richard Abel Domitor Witnesses the ‘Dickson Experimental Sound Film’, by Pat Loughney Edison and the Kinetograph (1895), by Montreal Daily Star, 20 April 1895 The Effect Is Quite Startling: Siegmund Lubin’s Attempts to Commercially Exploit Sound Motion Pictures, 1903–1914, by Joseph P. Eckhardt ‘If It’s Not Scottish, It’s Crap!’: Harry Lauder Sings for Selig, by Scott Curtis An Intermedia Practice: ‘Talking Pictures’ in Montreal, 1908–1910, by Pierre Véronneau The reception of ‘talking pictures’ in the context of Québec exhibition (1894–1915), by Jean-Pierre Sirois-Trahan From the Phonograph to the Kinetophone, by Malgorzata Hendrykowska In and out of Sync: Swedish Sound Films 1903–1914, by Jan Olsson Biophon Sound Films in Danish Cinemas, 1904–1914, by Jens Ulff-Møller Messter’s ‘Silent’ Heirs, by Michael Wedel The Controversy over the ‘Invention of the Talking Picture’, by Martin Barnier An International Survey of Sound Effects in Early Cinema, by Stephen Bottomore Volume 12, Number 1, 2000 Lewis Milestone: From transcript to film script, by Kevin Brownlow Rudolf Arnheim in discussion with film students and faculty, San Francisco State College, 7 May 1965, by John Fell ‘A Lion in Your Lap – A Lover in Your Arms’: Arch Oboler and Bwana Devil, by Richard Koszarski Conversations with Irvin V. Willat, by Robert S. Birchard Uncovering an auteur: Fred Zinnemann, by Alan Marcus Pioneer days in colour motion pictures with William T. Crespinel, by William A. Crespinel Witnessing the development of independent film culture in New York: an interview with Charles L. Turner, by Ronald S. Magliozzi The Hollywood star system and the regulation of actors’ labour, 1916–1934, by Sean P. Holmes Ethnic cinema in the nickelodeon era in New York City: Commerce, Assimilation and Cultural Identity, by Patrick Mullins Volume 12, Number 2, 2000 Beyond ‘On-the-Job’: The education of moving image archivists – a history in progress, by Gregory Lukow Archiving ‘Outside the Frame’: Audiovisual archiving in South East Asia and the Pacific, by Ray Edmondson No longer reinventing the wheel but creatively skinning the cat, by Abigail Leab Martin Thomas Jefferson’s movie collection, by Patrick G. Loughney Unknown pioneer: Edward Foxen Cooper and the Imperial War Museum Film Archive, 1919–1934, by Roger Smither and David Walsh Interstate Theatre Collection, 1907–1977: City of Dallas Public Library Dallas, Texas, by Ronald W. Wilson The Olympic Museum and IOC Studies Centre, Lausanne: A Personal View, by Thomas Cripps The mystery of the missing director, by Ina Bertrand Volume 12, Number 3, 2000 The Giant Ambrosio, or Italy’s most prolific silent film company, by Claudia Gianetto The ‘Pastrone System’: Itala Film from the origins to World War I, by Silvio Alovisio Rome’s premiere film studio: Società Italiana Cines, by Kimberly Tomadjoglou Milano Films: The exemplary history of a film company of the 1910s, by Raffaele De Berti Film on paper: Early Italian cinema literature, 1907–1920, by John P. Welle Italian serial films and ‘international popular culture’, by Monica Dall’Asta ‘Our beautiful and glorious art lives’: The rhetoric of nationalism in early Italian film periodicals, by John David Rhodes Visualising the past: The Italian city in early cinema, by Marco Bertozzi Volume 12, Number 4, 2000 Foolish Wives: The colour restoration that never happened, by Richard Koszarski Cinecolor, by John Belton Demonstrating three-colour Technicolor: La Cucaracha (1934) and Becky Sharp (1935), by Scott Higgins Analysis of Technicolor stock, by TCP of White, Weld & Co. Getting It Right: Robert Harris on Colour Restoration, Interview with John Belton Technicolor revival, by Richard W. Haines Aural gratification with Kalem Films: a case history of music, lectures, and effects, 1907–1917, by Herbert Reynolds Inventing Film Study and Its Object at Columbia University, 1915–1938, by Peter DeCherney Volume 13, Number 1, 2001 Pocket Movies: Souvenir Cinema Programmes and the Danish Silent Cinema, byMark B. Sandberg Dreyer and the National Film in Denmark, by Casper Tybjerg ‘Ylimeno’-transitions in Finnish Films of the 1930s and 1940s, by Kimmo Laine Radical Romanticism in Scandinavian Documentary: The Norwegian Nature Meme in For harde livet, by Bjørn Sørenssen Notes on the Cultural Context of Reception: ‘The Girl from the Marsh Croft’, 1917, by John Fullerton Aho and Stiller, by Antti Alanen Norway in Moving Images: Hale’s Tours in Norway in 1907, by Gunnar Iversen Fragmentation and assemblage in the Lumière animated pictures, by André Gaudreault The New Deal Cowboy: Gene Autry and the Antimodern Resolution, by Lynette Tan Volume 13, Number 2, 2001 ‘Local films for local people’: Travelling showmen and the commissioning of local films in Great Britain, 1900–1902, by Vanessa Toulmin Cinema’s ‘sanctuary’: From pre-documentary to documentary film in Albert Kahn’s Archives de la Planète (1908–1931), by Paula Amad Rediscovering early non-fiction film, by Stephen Bottomore Carl Louis Gregory: Life through a lens, by Charles ‘Buckey’ Grimm Reconstructing the news: British newsreel documentation and the British Universities Newsreel Project, by Nicholas Hiley and Luke McKernan The Order of Point of Order, by Vance Kepley, Jr. What a long, strange trip it’s been – William Greaves’ Symbiopsychotaxiplasm: Take One, by Maria San Filippo Volume 13, Number 3, 2001 Introduction, by Garth Jowett Foreword Introduction SECTION ONE: Physical Features SECTION TWO: Mental Effects and Educational Significance SECTION THREE: The Moral and Physical Effects of the Movies SECTION FOUR: Non-Commercialized Amusements and Community Work Among the Young SECTION FIVE: Appendices Volume 13, Number 4, 2001 The Road to Reno: The Awful Truth and the Hollywood comedy of remarriage, by Jane M. Greene The remarriage plot in the 1910s, by Billy Budd Vermillion The Circle: Lubitsch and the theatrical farce tradition, by Ben Brewster Lubitsch, acting and the silent romantic comedy, by Kristin Thompson ‘Good Little Bad Girls’: Controversy and the flapper comedienne, by Sara Ross The seduction plot: Comic and dramatic variants, by Lea Jacobs Obituaries: Jan de Vaal, Erik Barnouw Volume 14, Number 1, 2002 Playing the picture: musical directors, by G.W. Beynon Reconstructing the musical arrangement for The Battle of the Somme (1916), by Toby Haggith On the way to Nosferatu, by Enno Patalas Laughter, music and tragedy at the New York Pathé Studio, by Richard Koszarski The Vitaphone Project. Answering Harry Warner’s Question: ‘Who The Hell Wants To Hear Actors Talk?, by Ron Hutchinson Their Finest Hour? The Scoring of Battle of Britain, by Martin Hunt Smith versus Melbourne-Cooper: An end to the dispute, byStephen Bottomore Nanook and the Kirwinians: Deception, <->authenticity, and the birth of modern <->ethnographic representation, by John W. Burton and Caitlin W. Thompson Eisenstein, Shub and the gender of the author as producer, by Martin Stollery Frysky business: Micro-regionalism in the era of post-nationalism, by Bruce Williams Volume 14, Number 2, 2002 The Catholic Vision in Hollywood: Ford, Capra, Borzage and Hitchcock, byMaría Elena de las Carreras Kuntz Were the peasants really so clean? The Middle Ages in film, by Greta Austin Artist as Christ/Artist as God-the-Father: <->Religion in the Cinema of Philippe Garrel and Jean-Luc Godard, by Sally Shafto Suicide off the edge of explicability: awe in Ozu and Kore’eda, by William R. LaFleur Tracking the transcendental: Kore’eda <->Hirokazu’s Maboroshi, by Christine L. Marran Selling religion: how to market a Biblical epic, by Sheldon Hall Never on Sunday: The early operation of the Cinematograph Act of 1909 in regard to Sunday opening, by David R. Williams Projecting for the Lord – the work of Wilson Carlile, by Stephen Bottomore Rev. Herbert Jump and the motion picture, by Kevin Lewis The religious possibilities of the motion picture, by Herbert A. Jump Volume 14, Number 3/4, 2002 Dead white males, by Stephen Bottomore The depiction of war reporters in Hollywood feature films from the Vietnam War to the present, by Stephen Badsey Right-wing propaganda or reporting history? – the newsreels and the Suez crisis of 1956, by Jeff Hulbert Great Escapes: ‘Englishness’ and the Prisoner of War genre, by Nicholas J. Cull Subway commandos: Hollywood filmmakers at the Signal Corps Photographic Center, by Richard Koszarski The AFPU – The origins of British Army combat filming during the Second World War, by Kay Gladstone D-Day Filming – For Real. A comparison of ‘truth’ and ‘reality’ in Saving Private Ryan and combat film by the British Army’s Film and Photographic Unit, by Toby Haggith Early warnings of the Red Peril: A pre-history of Cold War British cinema, 1917–1939, by Tony Shaw Propaganda, patriotism and profit: Charles<N>Urban and British official war films in America during the First World War, by Luke McKernan ‘Watch the picture carefully, and see if you can identify anyone’: recognition in factual film of the First World War period, by Roger Smither Edward H. Amet and the Spanish–American War film, by Kirk J. Kekatos How cinema became a cultural industry: the big boom in France between 1905 and 1908, by Jean-Jacques Meusy Murnau in America: Chronicle of lost films, by Janet Bergstrom Book review: Young and Innocent? The Cinema in Britain, 1896–1930, by Richard Brown Volume 15, Number 1, 2003 Henri Chrétien (1879–1956), by Albert Arnulf Henri Chrétien, Bernard Natan, and the Hypergonar, by Jean-Jacques Meusy The widescreen revolution and 20th Century-Fox’s Eidophor in the 1950s, by Kira Kitsopanidou Interview with Dr. Wentworth Fling, the man who brought Cinerama out of the laboratory, by Scott Marshall Basic principles of anamorphic composition, by Marshall Deutelbaum ‘A dangerous experiment to try’: film censorship during the twentieth century in Mobile, Alabama, by R. Bruce Brasell Museum of Modern Art Film Stills Archive closes, by David Callahan Bibliothèque du Film, Paris: a fire and its consequences, Janet Bergstrom Letters to the Editor: Charles Musser, Lea Jacobs, Billy Budd Vermillion Volume 15, Number 2, 2003 Inventing amateur film: Marion Norris Gleason, Eastman Kodak and the Rochester scene, 1921–1932, by Dwight Swanson Resurrecting the lost history of 28mm film in North America, by Anke Mebold and Charles Tepperman British holiday films of the Mediterranean: at home and abroad with home movies, c.1925–1936, by Heather Norris Nicholson Home movie-making and Swiss expatriate identities in the 1920s and 1930s, by Alexandra Schneider Itinerant filmmakers and amateur casts: a homemade ‘Our Gang’, 1926, by Dan Streible From forgotten film to a film archive: the curious history of From Stump to Ship, by Janna Jones Consumed by a fever: the small-gauge cinema of Orizaba’s Sergio Tinoco Solar, by Jesse Lerner Lost, found and remade: an interview with archivist and filmmaker Carolyn Faber, by Laura Kissel The accidental preservationist: an interview with Bill Brand, by Brian Frye ‘If it moves, we’ll shoot it’: the San Diego Amateur Movie Club, by Melinda Stone The Amateur Cinema League and its films, by Alan D. Kattelle Small-gauge and amateur film bibliography, Edited by Margaret A. Compton Volume 15, Number 3, 2003 Introduction: Lost,strayed and forgotten – William K. Everson and the British Cinema, by Richard Koszarski William K. Everson and the British Cinema – program notes The Legacy of Max Schach, by Naomi Collinson Volume 15, Number 4, 2003 Publisher’s Announcement Out With a Moving Picture Machine, by Theodore Waters ‘Weather cloudy – no sun’ – Filming in Britain for the Edison Company – from Charles Brabin’s diary of 1913, by Stephen Bottomore Introduction “The Greatest Film Paramount Ever Made”, by Richard Koszarski Revolution in the studio? The DEFA’s fourth generation of film directors and their reform efforts in the last decade of the GDR, by Laura G. McGee Book review: Richard Hauer Costa Back Issues: |
