'Preface Introduction: Film History and How It Is Done Why Do We Care About Old Movies? What do Film Historians Do? Our Approach to Film History History as Story Part One: Early Cinema 1 The Invention and Early Years of the Cinema, 1880s-1904 The Invention of the Cinema Early Filmmaking and Exhibition 2 The International Expansion of the Cinema, 1905-1912 Film Production in Europe The Struggle for the Expanding American Film Industry The Problem of Narrative Clarity 3 National Cinemas, Hollywood Classicism and World War I, 1913-1919 The American Takeover of World Markets The Rise of National Cinemas The Classical Hollywood Cinema Small Producing Countries Part Two: The Late Silent Era, 1919-1929 4 France in the 1920s The French Film Industry after World War I Major Postwar Genres The French Impressionist Movement The End of French Impressionism 5 Germany in the 1920s The German Situation after World War I Genres and Styles of German Postwar Cinema Major Changes in the Mid- to Late 1920s The End of the Expressionist Movement New Objectivity Export and Classical Style 6 Soviet Cinema in the 1920s The Hardships of War Communism, 1918-1920 Recovery under the New Economic Policy, 1921-1924 Increased State Control and the Montage Movement, 1925-1930 Other Soviet Films The Five-Year Plan and the End of the Montage Movement 7 The Late Silent Era in Hollywood, 1920-1928 Theater Chains and the Structure of the Industry The Motion Picture Producers and Distributors of America Studio Filmmaking Films for African-American Audiences The Animated Part of the Program 8 International Trends of the 1920s 'Film Europe' The 'International Style' Film Experiments Outside the Mainstream Industry Documentary Features Gain Prominence Commercial Filmmaking Internationally Part Three: The Development of Sound Cinema, 1926-1945 9 The Introduction of Sound Sound in the United States Germany Challenges Hollywood The USSR Pursues Its Own Path to Sound The International Adoption of Sound 10 The Hollywood Studio System, 1930-1945 The New Structure of the Film Industry Exhibition Practice in the 1930s Continued Innovation in Hollywood Major Directors Genre Innovations and Transformations Animation and the Studio System 11 Other Studio Systems Quota Quickies and Wartime Pressures: The British Studios Innovation within an Industry: The Studio System of Japan India: An Industry Built on Music China: Filmmaking Caught between Left and Right 12 Cinema and the State: The USSR, Germany, and Italy, 1930-1945 The Soviet Union: Socialist Realism and World War II The German Cinema under the Nazis Italy: Propaganda versus Entertainment 13 France: Poetic Realism, the Popular Front and the Occupation, 1930-1945 The Industry and Filmmaking during the 1930s Poetic Realism Brief Interlude: The Popular Front Filmmaking in Occupied and Vichy France 14 Leftist, Documentary, and Experimental Cinema, 1930-1945 The Spread of Political Cinema Government- and Corporate-sponsored Documentaries Wartime Documentaries The International Experimental Cinema Part Four: The Postwar Era, 1946-1960s 15 American Cinema in the Postwar Era, 1946-1960 1946/1947/1948 The Decline of the Hollywood Studio System The New Power of the Individual Film The Rise of the Independents Classical Hollywood Filmmaking: A Continuing Tradition Major Directors: Several Generations 16 Postwar European Cinema: Neorealism and its Context, 1945-1959 The Postwar Context Film Industries and Film Culture Italy: Neorealism and After A Spanish Neorealism? 17 Postwar European Cinema: France, Scandinavia, and Britain, 1945-1959 French Cinema of the Postwar Decade Scandinavian Revival England: Quality and Comedy 18 Postwar Cinema Beyond the West, 1945-1959 General Tendencies Japan Postwar Cinema in the Soviet Sphere of Influence People's Republic of China India Latin America 19 Art Cinema and the Idea of Authorship The Rise and S