09/28/21 4AAQH126: Film History 1895-1930 | King's College London 4AAQH126: Film History 1895-1930 View Online [1] ‘BFI ScreenOnline.’ [Online]. Available: http://www.screenonline.org.uk/ [2] ‘British Pathe.’ [Online]. Available: http://www.britishpathe.com/ [3] ‘The National Fairground Archive.’ [Online]. Available: http://www.nfa.dept.shef.ac.uk/ [4] ‘American Memory from the Library of Congress.’ [Online]. Available: http://memory.loc.gov/ammem/browse/ [5] ‘Charles Urban, Motion Picture Pioneer.’ [Online]. Available: http://www.charlesurban.com/ [6] ‘British Universities Film & Video Council.’ [Online]. Available: http://bufvc.ac.uk/ [7] 1/17 09/28/21 4AAQH126: Film History 1895-1930 | King's College London ‘Regional Film Archives.’ [Online]. Available: http://www.movinghistory.ac.uk/index.html [8] ‘The Bioscope.’ [Online]. Available: http://thebioscope.net/ [9] ‘Silent London.’ [Online]. Available: http://silentlondon.co.uk/ [10] C. Musser, ‘At the Beginning: Motion Picture Production, Representation and Ideology at the Edison and Lumiere Companies’, in The Silent Cinema Reader, London: Routledge, 2004. [11] T. Gunning, ‘“Now You See it, Now you don”t’: The Temporality of the Cinema of Attractions’, in The Silent Cinema Reader, London: Routledge, 2004. [12] F. Gray, ‘A Kiss in the Tunnel (1899), G. A. Smith and the Emergence of the Edited Film in England’, in The Silent Cinema Reader, London: Routledge, 2004. [13] T. Gunning, ‘The Cinema of Attractions: Early Film, it’s Spectator and the Avant-Garde’, in Early cinema: Space-frame-narrative, London]: BFI Publishing. [14] T. Gunning, ‘“Primitive” Cinema: A Frame-Up? Or, The Trick’s on Us’, in Early cinema: Space-frame-narrative, London]: BFI Publishing. 2/17 09/28/21 4AAQH126: Film History 1895-1930 | King's College London [15] C. Musser, ‘Pre-Classical Cinema: Its Changing Modes of Film Production’, in Silent Film, vol. Rutgers depth of field series, New Brunswick, N.J.: Rutgers University Press, 1996. [16] Gregory A. Waller, ‘Introducing the “Marvellous Invention” to the Provinces: Film Exhibition in Lexington, Kentucky, 1896-1897’, Film History, vol. 3, no. 3, pp. 223–234, 1989 [Online]. Available: http://www.jstor.org/stable/3814979 [17] T. G. Lagos, ‘Film Exhibition in Seattle, 1897-1912: Leisure activity in a scraggly, smelly frontier town’, Historical Journal of Film, Radio and Television, vol. 23, no. 2, pp. 101–115, Jun. 2003, doi: 10.1080/0143968032000091059. [Online]. Available: http://dx.doi.org/10.1080/0143968032000091059 [18] D. Russell, ‘A Slippery Job: Travelling Exhibitors in Early Cinema’, in Visual delights: essays on the popular and projected image in the 19th century, Trowbridge: Flicks, 2000. [19] J. Kember, ‘“It was not the show, it was the tale that you told”: Film Lecturing and Showmanship on the British Fairground’, in Visual delights: essays on the popular and projected image in the 19th century, Trowbridge: Flicks, 2000. [20] C. Barr, ‘Before Blackmail: Silent British Cinema’, in The British cinema book, 3rd ed., London: BFI, 2009. [21] T. Gunning, ‘From the Opium Den to the Theatre of Morality: Moral Discourse and the Film Process in Early American Cinema’, in The Silent Cinema Reader, London: Routledge, 2004. 3/17 09/28/21 4AAQH126: Film History 1895-1930 | King's College London [22] C. Musser, ‘Moving Towards Fictional Narratives: Story Films Become the Dominant Product, 1903-1904’, in The Silent Cinema Reader, London: Routledge, 2004. [23] R. Abel, ‘The Cinema of Attractions in France, 1896-1914’, in The Silent Cinema Reader, London: Routledge, 2004. [24] R. Abel, ‘Pathe Goes to Town: French Films Create a Market for the Nickelodeon, 1903 – 1906’, in The Silent Cinema Reader, London: Routledge, 2004. [25] B. Salt, ‘Film Form 1890-1906’, in Early cinema: Space-frame-narrative, London]: BFI Publishing. [26] S. Bottomore, ‘Shots in the Dark – The Real Origins of Film Editing’, in Early cinema: Space-frame-narrative, London]: BFI Publishing. [27] L. S. Sanders, ‘Incentives to Vice’: Regulating Films and Audience Behaviour from the 1890s to the 1910s’, in Young and innocent?: the cinema in Britain, 1896-1930, Exeter: University of Exeter Press, 2002. [28] Chanan, Michael, The dream that kicks: the prehistory and early years of cinema in Britain. London: Routledge & Kegan Paul, 1980 [Online]. Available: http://ebookcentral.proquest.com/lib/kcl/detail.action?docID=179541 4/17 09/28/21 4AAQH126: Film History 1895-1930 | King's College London [29] D. A. Cook, ‘D.W.Griffith and the Development of Narrative Form’, in A history of narrative film, 4th ed., New York: W. W. Norton, 2004. [30] T. Gunning, ‘Weaving a Narrative: Style and Economic Background in Griffith’s Biograph Films’, in Early cinema: Space-frame-narrative, London]: BFI Publishing. [31] T. Gunning, ‘Heard over the phone: The Lonely Villa and the de Lorde tradition of the terrors of technology’, Screen, vol. 32, no. 2, pp. 184–196, Jun. 1991, doi: 10.1093/screen/32.2.184. [Online]. Available: https://doi.org/10.1093/screen/32.2.184 [32] R. Koszarski, ‘The Girl and Her Trust: Film into Fiction’, Film History: An International Journal, vol. 20, no. 2, pp. 198–201 [Online]. Available: http://muse.jhu.edu/journals/fih/summary/v020/20.2.koszarski.html [33] C. Musser, ‘The Nickelodeon Era Begins: Establishing the Framework for Hollywood’s Mode of Representation’, in Early cinema: Space-frame-narrative, London]: BFI Publishing. [34] R. Altman, ‘The Lonely Villa and Griffith’s paradigmatic style’, Quarterly Review of Film Studies, vol. 6, no. 2, pp. 123–134, Mar. 1981, doi: 10.1080/10509208109361084. [35] A. Frieberg, ‘A Properly Adjusted Window’: Vision and Sanity in D. W. Griffith’s 1908-1909 Biograph Films’, in Early cinema: Space-frame-narrative, London]: BFI Publishing. [36] 5/17 09/28/21 4AAQH126: Film History 1895-1930 | King's College London R. Bellour, ‘To Alternate/To Narrate’, in Early cinema: Space-frame-narrative, London]: BFI Publishing. [37] J. Staiger, ‘Combination and Litigation: Structures of US Film Distribution, 1896-1917’, in Early cinema: Space-frame-narrative, London]: BFI Publishing. [38] D. Riblet, ‘The Keystone Film Company and the Historiography of Early Slapstick’, in Classical Hollywood comedy, vol. AFI film readers, New York: Routledge [Online]. Available: http://ebookcentral.proquest.com/lib/kcl/detail.action?docID=1122939 [39] A. Hastie, ‘Circuits of Memory and History: The Memoirs of Alice Guy-Blaché’, in A feminist reader in early cinema, Durham, N.C.: Duke University Press, 2002 [Online]. Available: http://ebookcentral.proquest.com/lib/kcl/detail.action?docID=1167760 [40] M. F. Norden, ‘Women in the Early Film Industry’, Wide Angle, vol. 6, no. 3, 1984. [41] S. Stamp, ‘An Awful Struggle between Love and Ambition: Serial Heroines, Serial Stars and their Female Fans’, in The Silent Cinema Reader, London: Routledge, 2004. [42] Nan Enstad, ‘Dressed for Adventure: Working Women and Silent Movie Serials in the 1910s’, Feminist Studies, vol. 21, no. 1, pp. 67–90, 1995 [Online]. Available: http://www.jstor.org/stable/3178317 [43] N. Reeves, ‘Cinema, spectatorship and propaganda: “Battle of the Somme” (1916) and its 6/17 09/28/21 4AAQH126: Film History 1895-1930 | King's College London contemporary audience’, Historical Journal of Film, Radio and Television, vol. 17, no. 1, pp. 5–28, Mar. 1997, doi: 10.1080/01439689700260601. [Online]. Available: http://dx.doi.org/10.1080/01439689700260601 [44] Roger Smither, ‘“Watch the Picture Carefully, and See If You Can Identify Anyone”: Recognition in Factual Film of the First World War Period’, Film History, vol. 14, no. 3, pp. 390–404, 2002 [Online]. Available: http://www.jstor.org/stable/3815439 [45] N. Hiley, ‘“Nothing More than a Craze”: Cinema Building in Britain from 1909 to 1914’, in Young and innocent?: the cinema in Britain, 1896-1930, vol. Exeter studies in film history, Exeter: University of Exeter Press, 2002. [46] M. Hammond, ‘Letters to America: A Case Study in Exhibition and Reception of American films in Britain, 1914-1918’, in Young and innocent?: the cinema in Britain, 1896-1930, vol. Exeter studies in film history, Exeter: University of Exeter Press, 2002. [47] M. Hammond, ‘Laughter during wartime: comedy and the language of trauma in British cinema regulation 1917’, Screen, vol. 44, no. 2, pp. 222–228, Jun. 2003, doi: 10.1093/screen/44.2.222. [Online]. Available: https://doi.org/10.1093/screen/44.2.222 [48] B. Singer, ‘Manhattan Nickelodeons: New Data on Audiences and Exhibitors’, in The Silent Cinema Reader, London: Routledge, 2004. [49] Robert A. Armour, ‘Effects of Censorship Pressure on the New York Nickelodeon Market, 1907-1909’, Film History, vol. 4, no. 2, pp. 113–121, 1990 [Online]. Available: http://www.jstor.org/stable/3814996 7/17 09/28/21 4AAQH126: Film History 1895-1930 | King's College London [50] M. Hammond, ‘“The Men Who Came Back” Anonymity and Recognition in Local British Roll of Honour Films (1914-1918) [Scope]’ [Online]. Available: https://www.nottingham.ac.uk/scope/documents/2000/december-2000/hammond.pdf [51] Jon Burrows, ‘Penny Pleasures: Film Exhibition in London during the Nickelodeon Era, 1906-1914’, Film History, vol. 16, no. 1, pp. 60–91, 2004 [Online]. Available: http://www.jstor.org/stable/3815560 [52] C. J. Maitland, ‘A Star is Born: American Culture and the Dynamics of Charlie Chaplin’s Star Image 1913-1916’, in The Silent Cinema Reader, London: Routledge, 2004. [53] J. C. Robertson, ‘Dawn (1928): Edith Cavell and Anglo-German Relations’, Historical Journal of Film, Radio and Television, vol. 4, no. 1, pp. 15–28, Jan. 1984, doi: 10.1080/01439688400260021. [Online]. Available: http://dx.doi.org/10.1080/01439688400260021 [54] J. Staiger, ‘Chapter 7: The Butterfly’, in Bad women: regulating sexuality in early American cinema, Minneapolis: University of Minnesota Press, 1995 [Online]. Available: http://kcl.eblib.com/patron/FullRecord.aspx?p=310330 [55] R. DeCordova, ‘The Emergence of the Star System in America’, in Stardom: industry of desire, London: Routledge, 1991 [Online].