Introductory Assumptions | |
For Further Reading and Viewing | |
Birth | |
Frames per second | |
Pictures on Film | |
Speed | |
Flicker and the Continuous Signal | |
Persistence of Vision and Other Phenomena | |
Seeing with the Brain | |
Visual Masking and Retinal Retention | |
Early Observations | |
Separating and Integrating Frames | |
The Phi Phenomenon and Beta Movement | |
Short-Range Apparent Motion | |
Constructing Continuity | |
Scientific Toys | |
Emile Reynaud | |
Photography | |
Muybridge and Marey | |
Thomas Edison | |
W. K L. Dickson and William Heise | |
Early Cameras and Films | |
The Kinetoscope | |
A Sound Film and Studio | |
Projection | |
The Magic Lantern | |
The Loop and Other Solutions | |
The Lumiere Brothers | |
R.W. Paul | |
The Vitascope | |
The First Films | |
For Further Reading and Viewing | |
Film Narrative, Commercial Expansion | |
Early Companies | |
Narrative | |
George Melies | |
Cohl and Others | |
Edwin S. Porter | |
From Brighton to Biograph | |
Business Wars | |
The Film d Art | |
For Further Reading and Viewing | |
Griffith | |
Apprenticeship | |
Biograph: The One-Reelers | |
Two Reels and Up | |
The Birth of a Nation | |
Intolerance. 1917-31 | |
Broken Blossoms and Way Down East | |
The Struggle | |
For Further Reading and Viewing | |
Mack Sennett and the Chaplin Shorts | |
Krazy Keystones | |
Charlie | |
For Further Reading and Viewing | |
Movie Czars and Movie Stars | |
Stars over Hollywood | |
The First Stars | |
California, Here We Come | |
The Emperors and Their Rule | |
Major Studios | |
Movie Palaces | |
Morality | |
Sermons and Scandals | |
The Hays Office | |
Films and Filmmakers, 1910-28 | |
Thomas Ince | |
Douglas Fairbanks | |
DeMille and von Stroheim | |
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