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Preface Introduction: Film History and How It Is Done Why Do We CareAbout Old Movies? What do Film Historians Do? Our Approach to Film HistoryHistory as Story Part One: Early Cinema 1 The Invention and Early Years ofthe Cinema, 1880s-1904 The Invention of the Cinema Early Filmmaking andExhibition 2 The International Expansion of the Cinema, 1905-1912 FilmProduction in Europe The Struggle for the Expanding American Film IndustryThe Problem of Narrative Clarity 3 National Cinemas, Hollywood Classicismand World War I, 1913-1919 The American Takeover of World Markets The Riseof National Cinemas The Classical Hollywood Cinema Small ProducingCountries Part Two: The Late Silent Era, 1919-1929 4 France in the 1920sThe French Film Industry after World War I Major Postwar Genres The FrenchImpressionist Movement The End of French Impressionism 5 Germany inthe 1920s The German Situation after World War I Genres and Styles of GermanPostwar Cinema Major Changes in the Mid- to Late 1920s The End of theExpressionist Movement New Objectivity Export and Classical Style 6Soviet Cinema in the 1920s The Hardships of War Communism, 1918-1920Recovery under the New Economic Policy, 1921-1924 Increased State Controland the Montage Movement, 1925-1930 Other Soviet Films The Five-Year Planand the End of the Montage Movement 7 The Late Silent Era in Hollywood,1920-1928 Theater Chains and the Structure of the Industry The MotionPicture Producers and Distributors of America Studio Filmmaking Films forAfrican-American Audiences The Animated Part of the Program 8 InternationalTrends of the 1920s "Film Europe" The "International Style" FilmExperiments Outside the Mainstream Industry Documentary Features GainProminence Commercial Filmmaking Internationally Part Three: TheDevelopment of Sound Cinema, 1926-1945 9 The Introduction of Sound Soundin the United States Germany Challenges Hollywood The USSR Pursues Its OwnPath to Sound The International Adoption of Sound 10 The Hollywood StudioSystem, 1930-1945 The New Structure of the Film Industry ExhibitionPractice in the 1930s Continued Innovation in Hollywood Major DirectorsGenre Innovations and Transformations Animation and the Studio System 11Other Studio Systems Quota Quickies and Wartime Pressures: The BritishStudios Innovation within an Industry: The Studio System of Japan India: AnIndustry Built on Music China: Filmmaking Caught between Left and Right 12Cinema and the State: The USSR, Germany, and Italy, 1930-1945 The SovietUnion: Socialist Realism and World War II The German Cinema under the NazisItaly: Propaganda versus Entertainment 13 France: Poetic Realism, thePopular Front and the Occupation, 1930-1945 The Industry and Filmmakingduring the 1930s Poetic Realism Brief Interlude: The Popular FrontFilmmaking in Occupied and Vichy France 14 Leftist, Documentary, andExperimental Cinema, 1930-1945 The Spread of Political Cinema Government-and Corporate-sponsored Documentaries Wartime Documentaries TheInternational Experimental Cinema Part Four: The Postwar Era, 1946-1960s 15American Cinema in the Postwar Era, 1946-1960 1946/1947/1948 The Declineof the Hollywood Studio System The New Power of the Individual Film TheRise of the Independents Classical Hollywood Filmmaking: A ContinuingTradition Major Directors: Several Generations 16 Postwar EuropeanCinema: Neorealism and its Context, 1945-1959 The Postwar Context FilmIndustries and Film Culture Italy: Neorealism and After A SpanishNeorealism? 17 Postwar European Cinema: France, Scandinavia, and Britain,1945-1959 French Cinema of the Postwar Decade Scandinavian RevivalEngland: Quality and Comedy 18 Postwar Cinema Beyond the West, 1945-1959General Tendencies Japan Postwar Cinema in the Soviet Sphere of InfluencePeople's Republic of China India Latin America 19 Art Cinema and the Ideaof Authorship The Rise and Spread of the Auteur Theory Authorship and theGrowth of the Art Cinema Luis Bunuel (1900-1983) Ingmar Bergman (1918- )Akira Kurosawa (1910-1998) Federico Fellini (1920-1993) MichelangeloAntonioni (1912- ) Robert Bresson (1907-1999) Jacques Tati (1908-1982)Satyajit Ray (1921-1992) 20 New Waves and Young Cinema, 1958-1967 TheIndustries' New Needs Formal and Stylistic Trends France: New Wave and NewCinema Italy: Young Cinema and Spaghetti Westerns Great Britain:"Kitchen Sink" Cinema Young German Film New Cinema in the USSR and EasternEurope The Japanese New Wave Brazil: Cinema Novo 21 Documentary andExperimental Cinema in the Postwar Era, 1945-Mid-1960s Toward the PersonalDocumentary Direct Cinema Experimental and Avant-garde Cinema PartFive: The Contemporary Cinema Since the 1960s 22 Hollywood's Fall and Rise,1960-1980 1960s: The Film Industry in Recession The New Hollywood: Late1960s-Late 1970s Opportunities for Independents 23 Politically CriticalCinema of the 1960s and 1970s Political Filmmaking in the Third WorldPolitical Filmmaking in the First and Second Worlds 24 Documentary andExperimental Film Since the Late 1960s Documentary Cinema FromStructuralism to Pluralism in Avant-garde Cinema 25 New Cinemas and NewDevelopments: Europe and the USSR Since the 1970s Western Europe EasternEurope and the USSR 26 A Developing World: Continental and SubcontinentalCinemas since 1970 New Cinemas, New Audiences African Cinema Filmmaking inthe Middle East South America and Mexico: Interrupted Reforms andPartnerships with Hollywood Brazil India: Mass Output and Art Cinema27 Cinema Rising: Pacific Asia and Oceania since 1970 Australia and NewZealand Japan Mainland China New Cinemas in East Asia PartSix: Cinema in the Age of New Media 28 American Cinema and theEntertainment Economy: The 1980s and After Hollywood, Cable Television, andHome Video Concentration and Consolidation in the Film Industry ArtisticTrends A New Age of Independent Cinema 29 Toward a Global Film CultureHollyworld? Regional Alliances and the New International Film DiasporicCinema The Festival Circuit Video Piracy: An Alternative DistributionSystem Fan Subcultures: Appropriating the Movies 30 Digital Technology andthe Cinema Digital Tools for Filmmaking Distribution and Exhibition NewMedia, Film, and Digital Convergence