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基本説明
A comprehensive resource of key writings on early cinema, addressing filmmaking practice, film form, style and content, and the ways in which silent films were exhibited and understood by their audiences.
Full Description
The Silent Cinema Reader is a comprehensive resource of key writings on early cinema, addressing filmmaking practice, film form, style and content, and the ways in which silent films were exhibited and understood by their audiences, from the beginnings of film in the late nineteenth century to the coming of sound in the late 1920s.
The Reader covers international developments in film aesthetics, the growth of the American film industry and its relationship with foreign competitors at home and abroad, and the broader cultural, social and political contexts of film production and consumption in the United States as well as Britain, France, Russia and Germany. The Reader includes in-depth case studies of major directors and stars of the silent era, including Cecil B. DeMille, Eisenstein, D. W. Griffith, Buster Keaton, Charlie Chaplin and Rudolph Valentino.
Articles are grouped into thematic sections, each with an introduction by the editors, which focus on:
* Film projection and variety shows
* Storytelling and the nickelodeon
* Cinema and reform
* Feature films and cinema programmes
* Classical Hollywood cinema
* European national cinemas
Contents
INTRODUCTION 1 AT THE BEGINNING: MOTION PICTURE PRODUCTION, REPRESENTATION AND IDEOLOGY AT THE EDISON AND LUMIÈRE COMPANIES PART I Film projection and variety shows 2 "NOW YOU SEE IT, NOW YOU DON'T": THE TEMPORALITY OF THE CINEMA OF ATTRACTIONS 3 THE KISS IN THE TUNNEL (1899), G. A. SMITH AND THE EMERGENCE OF THE EDITED FILM IN ENGLAND 4 THE CINEMA OF ATTRACTIONS IN FRANCE, 1896-1904 PART II Storytelling and the nickelodeon 5 MOVING TOWARDS FICTIONAL NARRATIVES: STORY FILMS BECOME THE DOMINANT PRODUCT, 1903-1904 6 PATHÉ GOES TO TOWN: FRENCH FILMS CREATE A MARKET FOR THE NICKELODEON, 1903-1906 7 MANHATTAN NICKELODEONS: NEW DATA ON AUDIENCES AND EXHIBITORS PART III Cinema and reform 8 FROM THE OPIUM DEN TO THE THEATRE OF MORALITY: MORAL DISCOURSE AND THE FILM PROCESS IN EARLY AMERICAN CINEMA 9 HOW MANY TIMES SHALL CAESAR BLEED IN SPORT: SHAKESPEARE AND THE CULTURAL DEBATE ABOUT MOVING PICTURES 10 FIGHTING FILMS: RACE, MORALITY, AND THE GOVERNING OF CINEMA, 1912-1915 PART IV Feature films and cinema programmes 11 A STAR IS BORN: AMERICAN CULTURE AND THE DYNAMICS OF CHARLIE CHAPLIN'S STAR IMAGE, 1913-1916 12 AN AWFUL STRUGGLE BETWEEN LOVE AND AMBITION: SERIAL HEROINES, SERIAL STARS AND THEIR FEMALE FANS 13 TRAFFIC IN SOULS (1913): AN EXPERIMENT IN FEATURE-LENGTH NARRATIVE CONSTRUCTION 14 RACE, MELODRAMA, AND THE BIRTH OF A NATION (1915) 15 THE INTERNATIONAL EXPLORATION OF CINEMATIC EXPRESSIVITY PART V Classical Hollywood cinema 16 THE MAKING OF A COMIC STAR: BUSTER KEATON AND THE SAPHEAD (1920) 17 "THE PERFECT LOVER"?: VALENTINO AND ETHNIC MASCULINITY IN THE 1920S 18 THE NEW WOMAN AND CONSUMER CULTURE: CECIL B. DEMILLE'S SEX COMEDIES 19 THE OPEN DOOR: HOLLYWOOD'S PUBLIC RELATIONS AT HOME AND ABROAD, 1922-1928 PART VI European cinemas 20 NEW NOTES ON RUSSIAN FILM CULTURE BETWEEN 1908 AND 1919 21 EARLY ALTERNATIVES TO THE HOLLYWOOD MODE OF PRODUCTION: IMPLICATIONS FOR EUROPE'S AVANT-GARDES 22 MONUMENTAL HEROICS: FORM AND STYLE IN EISENSTEIN'S SILENT FILMS 23 ART AND INDUSTRY: GERMAN CINEMA OF THE 1920S.
