Lee Grieveson is a Lecturer in the Film Studies programme at King’s College London. He is author of Policing Cinema: Movies and Censorship in Early Twentieth Century America (2004) and a former winner of the prestigious Katherine Singer Kovacs Essay Award from the Society for Cinema and Media Studies. Peter Krämer is a Lecturer in Film Studies at the University of East Anglia (UK). He has published widely on American film and media history, and on the relationship between Hollywood and Europe. Together with Alan Lovell, he co-edited Screen Acting (1999).

• 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.

'Should be heralded for its clear and accessible overview ... it covers all bases in a precise and approachable style' - Film Review

Lee Grieveson is a Lecturer in the Film Studies programme at King’s College London. He is author of Policing Cinema: Movies and Censorship in Early Twentieth Century America (2004) and a former winner of the prestigious Katherine Singer Kovacs Essay Award from the Society for Cinema and Media Studies. Peter Krämer is a Lecturer in Film Studies at the University of East Anglia (UK). He has published widely on American film and media history, and on the relationship between Hollywood and Europe. Together with Alan Lovell, he co-edited Screen Acting (1999).

• 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.

'Should be heralded for its clear and accessible overview ... it covers all bases in a precise and approachable style' - Film Review

Lee Grieveson is a Lecturer in the Film Studies programme at King’s College London. He is author of Policing Cinema: Movies and Censorship in Early Twentieth Century America (2004) and a former winner of the prestigious Katherine Singer Kovacs Essay Award from the Society for Cinema and Media Studies. Peter Krämer is a Lecturer in Film Studies at the University of East Anglia (UK). He has published widely on American film and media history, and on the relationship between Hollywood and Europe. Together with Alan Lovell, he co-edited Screen Acting (1999).

• 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.

'Should be heralded for its clear and accessible overview ... it covers all bases in a precise and approachable style' - Film Review