Arranged chronologically, Film Histories is a wide-ranging anthology that covers the history of film from 1885 to the present. Each chapter contains an introduction by the editors on key developments within the respective period, followed by a classic piece of historical research about that period. Various approaches to film history are taken by the authors of the articles, exposing readers to different forms of historical research. Topics include: the history of audiences, exhibition, marketing, censorship, aesthetic history, political history, and historical reception studies.Film Histories concentrates on the so-called historical turn in film studies, demonstrating that film history is about more than simply key films, directors, and movements. Also included is a preface explaining the structure and organization of the book. The contents are divided into sections on American and non-American research, thus designed to reach a wide student audience at the undergraduate level. Chapter introductions provide an overview of international developments in film.

Paul Grainge is an assistant professor in the School of American and Canadian Studies at the University of Nottingham. Mark Jancovich is a professor in the School of Film and Television Studies at the University of East Anglia. Sharon Montieth is a professor in the School of American and Canadian Studies at the University of Nottingham.

Preface	p. viii
Film History from its Origins to 1945
The Emergence of Cinema	p. 3
Extract: Tom Gunning, 'The Cinema of Attractions: Early Film, its Spectator and the Avant-Garde'	p. 13
Organising Early Film Audiences	p. 21
Extract: Lee Grieveson, 'Why the Audience Mattered in Chicago in 1907'	p. 31
Nationalism, Trade and Market Domination	p. 45
Extract: Richard Abel, 'The Perils of Pathe, or the Americanization of Early American Cinema'	p. 54
Establishing Classical Norms	p. 67
Extract: Janet Staiger, 'Mass-Produced Photoplays: Economic and Signifying Practices in the First Years of Hollywood'	p. 76
The Age of the Dream Palace and the Rise of the Star System	p. 93
Extract: Douglas Gomery, 'The Rise of National Theatre Chains'	p. 103
Afterword	p. 119
Competing with Hollywood: National Film Industries outside Hollywood	p. 120
Extract: Thomas Elsaesser, 'Social Mobility and the Fantastic: German Silent Cinema'	p. 130
The Rise of the Studios and the Coming of Sound	p. 147
Extract: Mark Jancovich and Lucy Fair, 'Translating the Talkies: Diffusion, Reception and Live Performance'	p. 156
Realism, Nationalism and 'Film Culture'	p. 165
Extract: Haidee Wasson, 'Writing the Cinema into Daily Life: Iris Barry and the Emergence of British Film Criticism in the 1920s'	p. 174
Adjustment, Depression and Regulation	p. 187
Extract: Cynthia Erb, 'From Novelty to Romance: King Kong's Promotional Campaign'	p. 194
Totalitarianism, Dictatorship and Propaganda	p. 208
Extract: Richard Taylor, 'Ideology as Mass Entertainment: Boris Shumyatsky and Soviet Cinema in the 1930s'	p. 214
The Common People, Historical Drama and Preparations for War	p. 236
Extract: Tino Balio, 'Columbia Pictures: The Making of a Motion Picture Major, 1930-1943'	p. 244
Wartime, Unity and Alienation	p. 256
Extract: Clayton R. Koppes and Gregory D. Black, 'What to Show the World: The Office of War Information and Hollywood, 1942-1945'	p. 265
Film History from 1946 to the Present
Postwar Challenges: National Regeneration, HUAC Investigations, Divestiture and Declining Audiences	p. 279
Extract: Jackie Stacey, 'With Stars in their Eyes: Female Spectators and the Paradoxes of Consumption'	p. 289
The Politics of Polarisation: Affluence, Anxiety and the Cold War	p. 305
Extract: Charles Ambler, 'Popular Films and Colonial Audiences: The Movies in Northern Rhodesia'	p. 314
Cinematic Spectacles and the Rise of the Independents	p. 340
Extract: Barbara Klinger, 'Tastemaking: Reviews, Popular Canons, and Soap Operas'	p. 351
New Waves, Specialist Audiences and Adult Films	p. 371
Extract: Eric Schaefer, 'The End of Classical Exploitation'	p. 380
Radicalism, Revolution and Counter-Cinema	p. 392
Extract: Randal Johnson, 'Cinema Novo'	p. 400
Modernism, Nostalgia and the Hollywood Renaissance	p. 408
Extract: Kevin Heffernan, 'Inner-City Exhibition and the Genre Film: Distributing Night of the Living Dead (1968)'	p. 418
From Movie Brats to Movie Blockbusters	p. 435
Extract: Gianluca Sergi, 'Tales of the Silent Blast: Star Wars and Sound'	p. 445
The Exhibitors Strike Back: Multiplexes, Video and the Rise of Home Cinema	p. 457
Extract: Janet Wasko, 'Talkin' 'Bout a Revolution: Home Video'	p. 467
Postmodernism, High Concept and Eighties Excess	p. 483
Extract: Justin Wyatt, 'The Formation of the "Major Independent": Miramax, New Line and the New Hollywood'	p. 493
Cults, Independents and 'Guerrilla' Filmmaking	p. 504
Extract: Thomas Austin, 'Gone with the Wind Plus Fangs": Genre, Taste and Distinction in the Assembly, Marketing and Reception of Bram Stoker's Dracula'	p. 514
From Cinemas to Theme Parks: Conglomeration, Synergy and Multimedia	p. 529
Extract: Josh Stenger, 'Return to Oz: The Hollywood Redevelopment Project, or Film History as Urban Renewal'	p. 539
Globalisation and the New Millennium	p. 550
Extract: Leon Hunt, 'Transnational Dragons and "Asian Weapons": Kung Fu and the Hong Kong Diaspora'	p. 560
Bibliography	p. 574
Copyright Acknowledgements	p. 585
Index	p. 588
Table of Contents provided by Ingram. All Rights Reserved.

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