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Table of Contents

  1. The Great White Way and the Way of All Flesh: Metropolitan Film Culture and the Business of Film Exhibition in Times Square, 1929–1941
  2. Nathaniel Brennan
  3. pp. 1-32
  4. DOI: https://doi.org/10.2979/filmhistory.27.2.1
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  1. Under the Auspices of Simplicity: Roger Leenhardt’s New Realism and the Aesthetic History of Objectif 49
  2. Colin Burnett
  3. pp. 33-75
  4. DOI: https://doi.org/10.2979/filmhistory.27.2.33
  5. restricted access
  1. Memories in Context: The Social and Economic Function of Cinema in 1950s Rome
  2. Daniela Treveri Gennari, John Sedgwick
  3. pp. 76-104
  4. DOI: https://doi.org/10.2979/filmhistory.27.2.76
  5. restricted access
  1. Pressing Matters: Media Crusades before the Nickelodeons
  2. Jan Olsson
  3. pp. 105-139
  4. DOI: https://doi.org/10.2979/filmhistory.27.2.105
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  1. Charlot as Cinema: Louis Delluc and Charlie Chaplin at the Dawn of Film Criticism
  2. Donna Kornhaber
  3. pp. 140-159
  4. DOI: https://doi.org/10.2979/filmhistory.27.2.140
  5. restricted access
  1. Orson Welles and the Production of Othello
  3. p. 160
  4. restricted access
  1. Mary and the Moor: The Precious Memories of Orson Welles’s Secretary from the Set of Othello
  2. Alberto Anile
  3. pp. 161-185
  4. DOI: https://doi.org/10.2979/filmhistory.27.2.161
  5. restricted access
  1. Production Notes from Orson Welles’s Othello
  3. pp. 186-192
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  1. Contributors
  3. pp. 193-194
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