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Preface
Introduction: Film History and How It Is Done
Why Do We Care About Old Movies?
What do Film Historians Do?
Our Approach to Film History
History as Story
PART ONE: EARLY CINEMA
1 THE INVENTION AND EARLY YEARS OF THE CINEMA, 1880s-1904
The Invention of the Cinema
Preconditions for Motion Pictures
Major Precursors of Motion Pictures
An International Process of Invention
Early Filmmaking and Exhibition
Scenics, Topicals, and Fiction Films
Creating an Appealing Program
The Growth of the French Film Industry
England and the "Brighton School"
The United States: Competition and the Resurgence of Edison
Notes and Queries
Identification and Preservation of Early Films
Reviving Interest in Early Cinema: The Brighton Conference
References
Further Reading
2 THE INTERNATIONAL EXPANSION OF THE CINEMA, 1905-1912
Film Production in Europe
France: Pathé versus Gaumont
Italy: Growth through Spectacle
Denmark: Nordisk and Ole Olsen
Other Countries
The Struggle for the Expanding American Film Industry
The Nickeodeon Boom
The Motion Picture Patents Company versus the Independents
Social Pressures and Self-Censorship
The Rise of the Feature Film
The Star System
The Movies Move to Hollywood
The Problem of Narrative Clarity
Early Moves toward Classical Storytelling
Intertitles
Camera Position and Acting
Color
Set Design and Lighting
The Beginnings of the Continuity System
An International Style
Notes and Queries
Griffith's Importance in the Development of Film Style
References
Further Reading
3 NATIONAL CINEMAs, HOLLYWOOD CLASSICISM, AND WORLD WAR I, 1913-1919
The American Takeover of World Markets
The Rise of National Cinemas
Germany
Italy
Russia
France
Denmark
Sweden
The Classical Hollywood Cinema
The Major Studios Begin to Form
Controlling Filmmaking
Filmmaking in Hollywood during the 1910s
Films and Filmmakers
Streamlining American Animation
Small Producing Countries
Notes and Queries
The Ongoing Rediscovery of the 1910s
Further Reading
PART TWO: THE LATE SILENT ERA, 1919-1929
4 FRANCE IN THE 1920S
The French Film Industry after World War I
Competition from Imports
Disunity within the Film Industry
Outdated Production Facilities
Major Postwar Genres
The French Impressionist Movement
The Impressionists' Relation to the Industry
Impressionist Theory
Formal Traits of Impressionism
The End of French Impressionism
The Filmmakers Go Their Own Ways
Problems within the Film Industry
Notes and Queries
French Impressionist Theory and Criticism
Restoration Work on Napoléon
References
Further Reading
5 GERMANY IN THE 1920s
The German Situation after World War I
Genres and Styles of German Postwar Cinema
Spectacles
The German Expressionist Movement
Kammerspiel
German Films Abroad
Major Changes in the Mid- to Late 1920s
The Technological Updating of the German Studios
The End of Inflation
The End of the Expressionist Movement
New Objectivity
Export and Classical Style
Notes and Queries
German Cinema and German Society
Expressionism, New Objectivity, and the Other Arts
References
Further Reading
6 SOVIET CINEMA IN THE 1920s
The Hardships of War Communism, 1918-1920
Recovery under the New Economic Policy, 1921-1924
Increased State Control and the Montage Movement, 1925-1930
Growth and Export in the Film Industry
The Influence of Constructivism
A New Generation: The Montage Filmmakers
The Theoretical Writings of Montage Filmmakers
Soviet Montage Form and Style
Other Soviet Films
The Five-Year Plan and the End of the Montage Movement
Notes and Queries
Film Industry and Governmental Policy: A Tangled History
The Kuleshov Effect
The Russian Formalists and the Cinema
References
Further Reading
7 THE LATE SILENT ERA IN HOLLYWOOD, 1920-1928
Theater Chains and the Structure of the Industry
Vertical Integration
Picture Palaces
The Big Three and the Little Five
The Motion Picture Producers and Distributors of America
Studio Filmmaking
Style and Technological Changes
Big-Budget Films of the 1920s
New Investments and Blockbusters
Genres and Directors
Foreign Filmmakers in Hollywood
Films for African-American Audiences
The Animated Part of the Program
Notes and Queries
The Rediscovery of Buster Keaton
References
Further Reading
8 INTERNATIONAL TRENDS OF THE 1920s
"Film Europe"
Concrete Steps toward Co-operation
Success Cut Short
The "International Style"
Carl Dreyer: European Director
Film Experiments Outside the Mainstream Industry
Documentary Features Gain Prominence
Commercial Filmmaking Internationally
Japan
Great Britain
Italy
Some Small Producing Countries
Notes and Queries
Different Versions of Silent Classics
References
Further Reading
PART THREE: THE DEVELOPMENT OF SOUND CINEMA, 1926-1945
9 THE INTRODUCTION OF SOUND
Sound in the United States
Warner Bros. and Vitaphone
Sound-on-Film Is Adopted
Sound and Filmmaking
Germany Challenges Hollywood
Dividing the International Pie
The Early Sound Era in Germany
The USSR Pursues Its Own Path to Sound
The International Adoption of Sound
France
Great Britain
Japan
Wiring the World's Theaters for Sound
Crossing the Language Barrier
Notes and Queries
Filmmakers on the Coming of Sound
Sound and the Revision of Film History
References
Further Reading
10 THE HOLLYWOOD STUDIO SYSTEM, 1930-1945
The New Structure of the Film Industry
The Big Five
The Little Three
The Independents
Exhibition Practice in the 1930s
Continued Innovation in Hollywood
Sound Recording
Camera Movement
Technicolor
Special Effects
Cinematography Styles
Major Directors
The Older Generation
New Directors
Émigré Directors
Genre Innovations and Transformations
The Musical
The Screwball Comedy
The Horror Film
The Social Problem Film
The Gangster Film
Film Noir
The War Film
Animation and the Studio System
Notes and Queries
The Controversy over Orson Welles
References
Further Reading
11 OTHER STUDIO SYSTEMS
Quota Quickies and Wartime Pressures: The British Studios
The British Film Industry Grows
Export Successes
Alfred Hitchcock's Thrillers
Crisis and Recovery
The Effects of the War
Innovation within an Industry: The Studio System of Japan
Popular Cinema of the 1930s
The Pacific War
India: An Industry Built on Music
A Highly Fragmented Business
Mythologicals, Socials, Devotionals
Independents Weaken the System
China: Filmmaking Caught between Left and Right
Notes and Queries
Japanese Cinema Rediscovered
References
Further Reading
12 Cinema and the State: The USSR, Germany, and Italy, 1930-1945
The Soviet Union: Socialist Realism and World War II
Films of the Early 1930s
The Doctrine of Socialist Realism
The Main Genres of Socialist Realism
The Soviet Cinema in Wartime
The German Cinema under the Nazis
The Nazi Regime and the Film Industry
Films of the Nazi Era
The Aftermath of the Nazi Cinema
Italy: Propaganda versus Entertainment
Industry Tendencies
A Cinema of Distraction
A New Realism?
Notes and Queries
The Case of Leni Riefenstahl
References
Further Reading
13 FRANCE: POETIC REALISM, THE POPULAR FRONT AND THE OCCUPATION, 1930-1945
The Industry and Filmmaking during the 1930s
Production Problems and Artistic...
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