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With thirty-four original chapters from three dozen top scholars, The Oxford Handbook of Silent Cinema provides a thoughtful and provocative re-examination of a medium that would become the dominant form of mass entertainment by the second decade of the twentieth century. The volume is arranged around a series of broad topics: the "invention" of cinema as both technology and medium; the intermedial development of film aesthetics and genres; nontheatrical and non-commercial uses of cinema; the political economy of Hollywood mass culture; film and global modernities; and silent cinema's publics and counter-publics. The historiographical essays in this collection engage with the question of how we might rethink silent film history, especially in the context of the developed media ecosystem that defined the early 1900s. Influenced by methodologies as diverse as media archaeology and industrial studies, and sensitive to both the textual contours of silent films and the cultural, economic, a

Keil (cinema studies and history, U. of Toronto) examines a broad cross section of fiction films from 1907 to 1913 and considers the ways in which filmmakers developed narrative techniques to suit the

"Funny Pictures is an important collection of writing by some of the foremost authors in the field of animation studies. Each brings considerable knowledge from a variety of fields, resulting in a boo

"Funny Pictures is an important collection of writing by some of the foremost authors in the field of animation studies. Each brings considerable knowledge from a variety of fields, resulting in a boo

It was during the teens that filmmaking truly came into its own. Notably, the migration of studios to the West Coast established a connection between moviemaking and the exoticism of Hollywood.The

Most moviegoers think of editing and special effects as distinct components of the filmmaking process. We might even conceive of them as polar opposites, since effective film editing is often subtle a

When a film is acclaimed, the director usually gets the lion’s share of the credit. Yet the movie director’s job—especially the collaborations and compromises it involves—remai

When a film is acclaimed, the director usually gets the lion’s share of the credit. Yet the movie director’s job—especially the collaborations and compromises it involves—remai

The visionaries of early motion pictures thought that movies could do more than just entertain. They imagined the medium had the potential to educate and motivate the audience. In national and local c

No other silent film director has been so extensively studied as D. W. Griffith. However, only a small group of his more than 500 films has been the subject of a systematic analysis and the vast major