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Table of Contents

  1. Bennett, Breen, and the Birdman of Alcatraz: A Case Study of Collaborative Censorship between the Production Code Administration and the Federal Bureau of Prisons
  2. David Eldridge
  3. pp. 1-31
  4. DOI: https://doi.org/10.2979/filmhistory.28.2.02
  5. restricted access
  1. Making John Ford’s How Green Was My Valley
  2. Lea Jacobs
  3. pp. 32-80
  4. DOI: https://doi.org/10.2979/filmhistory.28.2.03
  5. restricted access
  1. Self-Censorship in Hollywood during the Silent Era: A Woman of Affairs (1928) by Clarence Brown
  2. Carmen Guiralt
  3. pp. 81-113
  4. DOI: https://doi.org/10.2979/filmhistory.28.2.04
  5. restricted access
  1. Seeing through Spirits: Superimposition, Cognition, and The Phantom Carriage
  2. Carmen Guiralt
  3. pp. 114-141
  4. restricted access
  1. Copycats: Anschütz Chronophotographs as Direct Source Material for Early Edison Kinetoscope Films
  2. Deac Rossell
  3. pp. 142-172
  4. DOI: https://doi.org/10.2979/filmhistory.28.2.06
  5. restricted access
  1. The Orgy at Lil’s Place Pressbook
  2. Eric Schaefer
  3. pp. 173-195
  4. restricted access
  1. Editor’s Introduction: Film History and the Individual Film
  2. Gregory A. Waller
  3. pp. v-vii
  4. DOI: https://doi.org/10.2979/filmhistory.28.2.01
  5. restricted access