restricted access   Volume 25, Number 1-2, 2013

Table of Contents


pp. vii-ix

The Pleasures and Perils of Big Data in Digitized Newspapers

pp. 1-10

Senses of Success and the Rise of the Blockbuster

pp. 11-18

Where Is National Cinema Today (and Do We Still Need It)?

pp. 19-30

McCay and Keaton: Colligating, Conjecturing, and Conjuring

pp. 31-44

Science Lessons

pp. 45-54

Invisible by Design: Reclaiming Art Nouveau for the Cinema

pp. 55-69

What Happened to the Philosophy of Film History?

pp. 70-80

Titles, Subtitles, and Intertitles: Factors of Autonomy, Factors of Concatenation

pp. 81-94

The Untrammeled Camera: A Topos of the Expedition Film

pp. 95-109

German Cinema as European Cinema: Learning from Film History

pp. 110-117

Pathé versus Pathé, Exhibit A: Reading an Archival Document

pp. 118-129

VD Propaganda, Dr. Ehrlich's Magic Bullet, and the Production Code

pp. 130-137

The Standard Exhibition Contract and the Unwritten History of the Classical Hollywood Cinema

pp. 138-153

Conversions and Convergences: Sarah Bernhardt in the Era of Technological Reproducibility, 1910-1913

pp. 154-174

The Creation and Construction of Asian Cinema Redux

pp. 175-187

Screen Bodies and Busybodies: Corporeal Constellations in the Era of Anonymity

pp. 188-204

"Because I Am a Woman": Thinking Identity and Agency for Historiography

pp. 205-214

"Pix Biz Spurts with War Fever": Film and the Public Sphere—Cycles and Topicality

pp. 215-226

Moving Image History and the F-Word; or, "Digital Film" Is an Oxymoron

pp. 227-235

Protocols of Portability

pp. 236-247


pp. 248-251