Animation Books

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Cinema Book


   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
, Edited by
John Belton

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
, Edited by
Paolo Cherchi Usai

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 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
, Edited by
Richard Koszarski

‘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
, Edited by
Mark Langer

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
, Edited by
John Belton

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
, Edited by
Kristin Thompson

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
, Edited by
Paolo Cherchi Usai

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
, Edited by
Richard Koszarski

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
, Edited by
Mark Langer

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
, Edited by
John Belton

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
, Edited by
Kristin Thompson

‘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
, Edited by
Paolo Cherchi Usai

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
, Edited by
Richard Koszarski

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
, Edited by
Mark Langer

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
, Edited by
John Belton

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
, Edited by
Kristin Thompson

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
, Edited by
Stephen Bottomore

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
, Edited by
 Richard Koszarski

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
, by
Daniel J. Leab

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
, Edited by
Richard Koszarski

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
, Edited by
John Belton

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
, Edited by
Kristin Thompson

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
, Edited by
Stephen Bottomore

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
, Edited by Richard Abel

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
, Edited by
Richard Koszarski

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
, Edited by
Daniel J. Leab

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
, Edited by
Giorgio Bertellini

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
, Edited by
John Belton

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
, Edited by
John Fullerton

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
, Edited by
Stephen Bottomore

‘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
, by
Rev. J. J. Phelan, M. A., Ph.D.

Introduction, by Garth Jowett



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
, Edited by
Lea Jacobs

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
, Edited by
Richard Koszarski

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
, Edited by
Daniel J. Leab

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
, Edited by
Stephen Bottomore

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
, Edited by
John Belton

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
, Edited by
Melinda Stone and Dan Streible

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
, Edited by
Richard Koszarski

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
, Edited by
Richard Koszarski

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

Charles Brabin’s Diary July to October 1913
Key persons associated with Charles Brabin’s filming in the UK in 1913
Filmography of Charles Brabin’s British (and European) films of 1913

“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

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