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C O N T R I B U T O R S
★★★★★★★★★★
✩✩✩✩✩✩✩✩✩✩
RICHARD ABEL is Robert Altman Collegiate Professor of Film Studies in Screen Arts & Cultures at the University of Michigan. Most recently he edited the award-winning Encyclopedia of Early Cinema (2005/2009/2010), published Americanizing the Movies and “Movie-Mad” Audiences, 1910–1914
(2006), and co-edited (with Giorgio Bertellini and Rob King) Early Cinema and the “National” (2008). Currently he is writing Menus for Movie Land: Newspapers and the Emergence of American Film Culture, 1913–1916.
JENNIFER M. BEAN is the director of the Cinema Studies Program and an associate professor of comparative literature at the University of Washington.
She is co-editor of A Feminist Reader in Early Cinema (2002) and of a special issue of Camera Obscura on “Early Women Stars.” She is currently editing a collection entitled Border Crossings: Silent Cinema and the Politics of Space, and writing a book on the geopolitical imagination of early Hollywood and the formation of mass culture.
GIORGIO BERTELLINI is an associate professor of film studies in the Departments of Screen Arts & Cultures and Romance Languages and Literatures at the University of Michigan. He is the author of Emir Dusturica (1996; 2nd expanded ed. 2010) and the award-winning Italy in Early American Cinema: Race, Landscape, and the Picturesque (2009), editor of Cinema of Italy (2004; 2007), and co-editor (with Richard Abel and Rob King) of Early Cinema and the “National” (2008).
MARK GARRETT COOPER is the interim director of Moving Image Research Collections and an associate professor of film and media studies at the University of South Carolina. He is the author of Love Rules: Silent Hollywood and the Rise of the Managerial Class (2003) and Universal Women: Filmmaking and Institutional Change in Early Hollywood (2010). He is currently researching the history of motion picture accounting, and, with John Marx, is writing a book about cinema’s role in the development of humanities disciplines.
SCOTT CURTIS is an associate professor in the Radio/Television/Film Department at Northwestern University, where he teaches film history and histo-riography. He has published on a wide variety of topics, including early film theory, film sound, animation, Alfred Hitchcock, the Motion Picture Patents Company, industrial film, medical cinematography, microcinematography, 279
280
CONTRIBUTORS
and other scientific uses of motion pictures. He has also written on Douglas Fairbanks for Idols of Modernity: Movie Stars of the 1920s, edited by Patrice Petro (2010)
CHRISTINE GLEDHILL is a visiting professor of cinema studies at the University of Sunderland, U.K. She has published extensively on feminist film criticism, film melodrama, and British cinema, including her book Reframing British Cinema 1918–1920: Between Restraint and Passion (2003). She is completing an anthology on genre and gender, working with Dr. Ira Bhaskar (Jawaharlal Nehru University) on a British Academy—supported project investigating conceptions of melodrama in Indian cinema, and is leading the Arts and Humanities Research Council funded “Women’s Film History Network—UK/Ireland.”
KRISTEN HATCH is an assistant professor in the Department of Film and Media Studies at the University of California, Irvine. She is currently completing a history of performances of childhood through the 1930s, focusing on how the reception of stage and screen performances was shaped by shifting notions of sexuality and gender.
ROB KING is an assistant professor in history and cinema studies at the University of Toronto, where he is currently working on a study of early sound slapstick and Depression-era mass culture. He is the author of The Fun Factory: The Keystone Film Company and the Emergence of Mass Culture (2009) and co-editor of the volumes Early Cinema and the “National” (2008) and Slapstick Comedy (2010).
DAISUKE MIYAO is an associate professor of cinema studies in the Department of E
ast Asian Languages and Literatures at the University of Oregon. He is the author of Sessue Hayakawa: Silent Cinema and Transnational Stardom (2007), editor of The Oxford Handbook of Japanese Cinema (forthcoming), and co-translator of Kiju Yoshida’s Ozu’s Anti-Cinema (2003). Miyao is currently writing a book entitled The Aesthetics of Shadow: Lighting and Japanese Cinema, the Monochrome Era.
ANNE MOREY is an associate professor of English at Texas A&M University.
Her book Hollywood Outsiders: The Adaptation of the Film Industry, 1913–1934
(2003) deals with Hollywood’s critics and co-opters in the later silent and early sound periods. She has published in Film History, Quarterly Review of Film and Video, and Tulsa Studies in Women’s Literature, among other venues.
She is currently at work on a history of religious filmmaking in the United States from the late nineteenth century to the present.
CONTRIBUTORS
281
GAYLYN STUDLAR is David May Distinguished Professor in the Humanities at Washington University in St. Louis, where she directs the Program in Film and Media Studies. She has also taught at the University of Michigan, Ann Arbor, and Emory University. She is the author of This Mad Masquerade: Stardom and Masculinity in the Jazz Age (1996) and In the Realm of Pleasure: Von Sternberg, Dietrich, and the Masochistic Aesthetic (1988), as well as the co-editor of four volumes and author of some three dozen articles on Hollywood cinema. She is currently completing a book on the juvenation of female stardom in classical Hollywood cinema.
I
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D
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Note: Early films seldom credited a director. Where possible, the production company is given instead.
A. B. Company, 50
Arnheim, Rudolf, 243
Abel, Richard, 18
Antony and Cleopatra (William
Ada Evening News, 24, 42n8
Shakespeare), 7, 120
Adair, Gilbert, 247
Aronson, Max, 23
Adams, Maude, 16, 47, 68n4
Arrah-Na-Pogue (Kalem Company, 1911),
Addams, Jane, 10
34
Adrea (David Belasco, John Luther Long,
Artcraft, 218, 232, 233, 234, 235, 236,
William Furst, Jan. 11, 1905), 152
237
Adventure of Lieutenant Petrosino, The
Astaire, Fred, 239
(Feature Photoplay Co., 1912), 164,
Atherton, Gertrude, 148
173n1
At the Foot of the Flatiron (American
Adventurer, The (Charles Chaplin, 1917),
Mutoscope & Biograph, 1903), 161
258, 262
Auld Lang Syne (Vitagraph Company,
Adventures of Kathlyn, The (Francis J.
1911), 32
Grandon, 1913), 175, 176, 219
Avedon, Richard, 117
Adventures of Ruth (George Marshall,
Ayala, Francisco, 259
Ruth Roland, 1919), 192
Agee, James, 243, 247, 261, 266
Back Stage (Roscoe Arbuckle, 1919), 211
Aitken, Harry, 225, 229, 231
Baggot, King, 37
Alice Joyce (Kalem Company, film series,
Bakhtin, Mikhail, 248
1914–1915), 35
Baltimore American, 54
Alien, The/The Sign of the Rose
Bandit King, The (Selig Polyscope
(Thomas H. Ince, 1915), 12, 156, 165,
Company, 1907), 23
167, 168
Bandit’s Child, The (Gilbert M. Anderson,
Allan, Maud, 130
1912), 25
All for a Girl (Rupert Hughes, Aug. 22,
Bank, The (Charles Chaplin, 1915), 257,
1908), 222
259
Amarilly of Clothes-line Alley (Marshall
Bao Weihong, 187, 189
Neilan, 1918), 57
Bara, Lori, 133
American Aristocracy (Lloyd Ingraham,
Bara, Pauline L., 134
1916), 233
Bara, Theda (Theodosia Goodman), 4,
Americanization, 94, 95, 97, 98, 99, 109,
6, 13, 77, 113, 113–136, 121, 127, 132,
110, 140
147, 148, 154
American Magazine, 18
Barker, Reginald, 165, 170
Americano, The (John Emerson, 1916),
Barnum, P. T., 5, 6
232, 234
Barnyard Flirtations (Roscoe Arbuckle,
Anaconda Standard, 34, 38
1914), 199, 206
Anderson, Antony, 135
Barrie, J. M., 68n4
Anderson, G. M. (Max Aronson), 12,
Barthelmess, Richard, 80, 82, 169
14, 15, 22, 22–42, 264
Bartlett, Randolph, 13
Aoki, Tsuru, 96
Bazin, André, 108
Arbuckle, Roscoe “Fatty,” 11, 17, 19,
Bean, Jennifer M., 109, 183, 184, 200
196, 196–217, 206, 208, 212, 257, 265,
Beban, George, 12, 104, 155, 155–173,
266
166, 170, 171
283
284
INDEX
Beban, Rocco, 156
Brand of Lopez, The (Joseph De Grasse,
Becker, Nell, 69, 71, 84, 85
1920), 105
Bedding, Thomas, 29
Braudy, Leo, 13
Bederman, Gail, 73, 90n3
Brice, Fanny, 130, 134
Beerbohm-Tree, Sir Herbert, 225
Bridge on the River Kwai, The (David Lean,
Beery, Wallace, 267
1957), 91
Belasco, David, 37, 44, 45, 46, 47, 48,
Broken Blossoms (D. W. Griffith, 1919),
50, 53, 61, 85, 142, 146, 153
71, 80, 81, 82, 83, 89, 169
Bell, Archie, 120, 133
Broken Coin, The (Francis Ford, film
Bell Boy, The (Roscoe Arbuckle, 1918),
series, 1915), 9, 177, 187, 193
214, 266
“Broncho Billy,” 13, 14, 15, 22, 23, 24,
Benjamin, Walter, 109, 244
25, 26, 27, 28, 29, 38, 39, 40, 41, 264
Berlin, Irving, 130
Broncho Billy and the Bandits (Gilbert M.
Bernhardt, Sarah, 5, 6, 7, 16, 46, 48, 85,
Anderson, 1912), 40
117, 119, 120, 126, 130, 133, 143
Broncho Billy and the Girl (Gilbert M.
Berton, Pierre, 142
Anderson, 1912), 27
Better Late Than Never (Frank Griffin,
Broncho Billy’s Bible (Gilbert M.
1916), 268
Anderson, 1912), 25, 27
Betzwood Company, 208
Broncho Billy’s Christmas Dinner (Gilbert M.
Billboard magazine, 36
Anderson, 1911), 26, 41n2
Biograph Company, 9, 35, 37, 44, 45,
Broncho Billy’s Escapade (Gilbert M.
48, 49, 52, 55, 61, 70, 85, 122, 175
Anderson, 1912), 27
Biograph Girl, 1, 2, 30, 33, 35, 45
Broncho Billy’s Gratitude (Gilbert M.
Bioscope (U.K.), 48, 54, 57, 58, 61, 68n6
Anderson, 1912), 28
Bioscope (U.S.), 23, 40, 41, 49, 50, 51, 54,
Broncho Billy’s Heart (Gilbert M.
55
Anderson, 1912), 28
Birth of a Nation, The (D. W. Griffith,
Broncho Billy’s Last Hold-Up (Gilbert M.
1915), 70, 72, 74, 75, 77, 81, 83, 89,
Anderson, 1912), 27, 41n2
90n4, 146, 167
Broncho Billy’s Narrow Escape (Gilbert M.
Bismarck Daily Tribune, 33
Anderson, 1912), 27, 40, 41n2
Bitzer, Billy, 83
Broncho Billy’s Redemption (Gi
lbert M.
Black Hand, The (American Mutoscope
Anderson, 1910), 24
& Biograph, 1906), 163
Broncho Billy’s Ward (Gilbert M.
Black Oxen (Frank Lloyd, 1923), 148
Anderson, 1913), 28
Blizzard, The (American Mutoscope
Brooks, Peter, 66, 67
Company, 1899), 161
Brown, Alice Coon, 67
Blood and Sand (Fred Niblo, Dorothy
Browne, Porter Emerson, 114, 136n2
Arzner, 1922), 12, 172
Brownlow, Kevin, 246
Blue Book Magazine, 9, 47
Bruner, Frank, 183
Boheme, La (King Vidor, 1926), 90
Buckwalter, H. H., 23
Bond Between, The (Donald Crisp, 1917),
Bunny, John, 14, 15, 17, 37
169
Burke, Billie, 225
Bookman, 147
Burne-Jones, Philip, 114, 115, 126
Boston Daily Globe, 222, 223
Bush, W. Stephen, 115
Bosworth, Hobart, 210
Bushman, Francis X., 37, 95
Bow, Clara, 154
Buszek, Maria Elana, 117, 135
Bowes, Epson, 252, 253
Butcher Boy, The (Roscoe Arbuckle, 1917),
Bowser, Elaine, 6
199, 211
Bradley, Berton, 250
Brady, William, 222
Cabell, James Branch, 88
Bramen, Carrie Tirado, 163
Cahan, Abraham, 158
Branded Shoulder, The (Kalem Company,
Calvé, Emma, 147
1911), 35
Camera Notes, 162
INDEX
285
Camille (Louis Mercanton, 1911), 6
Clemenceau Case, The (Herbert Brenon,
Campbell, Eric, 262
1915), 120
Canton News-Democrat, 22, 24
Cleopatra (J. Gordon Edwards, 1917), 6,
Capra, Frank, 267
120, 122, 127
Caprice (J. Searle Dawley, 1913), 61
Cleveland Leader, 36, 52, 120
Carmen (Cecil B. DeMille, 1915), 8, 123,
Cleveland Plain Dealer, 58, 246
142, 143, 144, 145, 146, 147, 148,
Cleveland Times, 57
149, 150, 154
Coburn, Alvin Langdon, 161
Carmen (Georges Bizet, Mar. 3, 1875),
Cohan, George M., 156
138, 142
Collette, Sidonie-Gabrielle, 12
Carr, Harry, 209
Comique Film Corporation, 198, 199,
Carroll, Noël, 261
205, 211, 214, 215
Carson, Ann, 1
