Bibliography:
Europe

GENERAL:

Biltereyst, Daniël. Cinema Audiences and Modernity: New Perspectives on European Cinema History. New York: Routledge, 2012.

Bull, Sofia, and Astrid Söderbergh-Widding, eds. Not So Silent: Women in Cinema Before Sound. Stockholm: Acta Universitatis Stockholmiensis, 2010.

Dall’Asta, Monica, Victoria Duckett, and Lucia Tralli, eds. Researching Women in Silent Cinema: New Finding and Perspectives. Bologna: Dipartimento delle Arti – DAR, Alma Mater Studiorum Università di Bologna, 2013.

Dupré la Tour, Claire. “Intertitles and titles.” In Richard Abel ed., Encyclopedia of Early Cinema. London: Routledge, 2005. 326-331.

Gaines, Jane M. “The Genius of Genre and the Ingenuity of Women.” In Christine Gledhill, ed. Gender Meets Genre in Postwar Cinema. Urbana, IL: University of Illinois Press, 2012. 15-28.

Gaines, Jane M. and Dall’Asta, Monica. “Prologue. Constellations: Past Meets Present in Feminist Film History.” In Christine Gledhill and  Julia Knight, eds. Doing Women’s Film History. Reframing Cinemas, Past and Future. Urbana, IL: University of Illinois Press, 2015. 13-28

Gledhill, Christine and Julia Knight, eds. Doing Women’s Film History. Reframing Cinemas, Past and Future. Urbana, IL: University of Illinois Press, 2015

AUSTRIA: 

Achenbach, Michael and Paolo Caneppele. Das Schicksal Derer von HabsburgIl Crollo degli Absburgo. Vienna: Filmarchiv Austria, 2000. 

Blaser, Patrick. “Asta Nielsen Films in Innsbruck before the First World War.” In Martin Loiperdinger and Uli Jung, eds., Importing Asta Nielsen: The International Film Star in the Making, 1910-1914. Bloomington, IN: Indiana University Press, 2013. 142-152.

Caneppele, Paolo. “Carmen Cartellieri.” Filmhimmel Österreich 009. Das Privileg zu sehen (Mar. 2005): 12–15.

——. Il Regista e la Diva: L’attice Carmen Cartellieri e Cornelius Hintner, Regista. Bolzano: Bolzano Centro Audiovisivi Bolzano/Provincia Autonoma di Bolzano Alto Adige, 2000.

“Carmen Cartellieri—Stummfilmstar.” Viennale 2000Katalog des Vienna International Film Festival. Vienna: Viennale, 2000. 178–79.

Geser, Guntram and Armin Loacker, eds. Die Stadt ohne Juden. Edition Film und Text 3. Vienna: Filmarchiv Austria, 2000.

Hansch, Gabrielle, and Gerlinde Waz. “Filmpionierinnen in Deutschland. Ein Beitrag zur Filmgeschichtsschreibung.” Unpublished, Berlin, 1998.

Loacker, Armin, ed. Kunst der Routine. Der Schauspieler und Regisseur Max Neufeld. Vienna: Filmarchiv Austria, 2008.

—— and Martin Prucha, eds. Unerwünschtes Kino: Der deutschsprachige Emigrantenfilm 1934-1937. Vienna: Filmarchiv Austria, 2000.

Mörth, Otto. “Die Filmadaption des Romans Die Stadt ohne Juden (1924).” Maske und Kothurn 43 (1999): 73-92.

Prawer, Siegbert Salomon. Between Two Worlds: The Jewish Presence in German and Austrian Film, 1910-1933. New York and Oxford: Berghahn, 2005.

CZECH REPUBLIC:

Červenkova, Thea. “Film, jeho význam a národnost.” Československý film 2:6 (1 April 1919): 3.

Český hraný film I, 1898 – 1930. Praha: Národní filmový archiv, 1995.

Havelka, Jiří. 50 let Československého filmu. Praha: Československý státní film, 1953.

Johnson, Kevin B. “Fascinations for the Nation: American Serial Film, Czechoslovakia, and the Afterlives of Pearl White.” In Marina Dahlquist, ed., Exporting Perilous Pauline: Pearl White and Serial Film Craze.  Bloomington: University of Illinois Press, 2013. 126-159. 

Stabla, Zdenek. “The First Cinema Shows in the Czech Lands.” Film History 3:3 (1989): 203-221.

CROATIA

Jakobović Fribec, Slavica. “Jurić, Marija (1873-1957).” In A Bibliographical Dictionary of Women’s Movements and Feminisms: Central, Eastern and South Eastern Europe, 19th and 20th Centuries. Eds. Francisca De Haan, Krassimira Daskalova, Anna Loufti. Budapest: Central European University Press, 2006. 195-199.

Šakić, Tomislav. “Hrvatski film između nacionalizirane i nacionalne kinematografije.” In Hrvatska na prvi pogled: udžbenik hrvatske kulture. Ed. Sanda Lucija Udier. Zagreb: FF Press, 2014. 299-335.

Škrabalo, Ivo. Između publike i države: Povijest hrvatske kinematografije, 1896-1980. Zagreb: Znanje, 1984. 

DENMARK:

Allen, Julie. Icons of Danish Modernity: Georg Brandes & Asta Nielsen. Seattle: University of Washington Press, 2012.

Engberg, Marguerite. Asta Nielsen. Copenhagen: Danish Film Institute, 1966.

——. “The Erotic Melodrama in Danish Silent Films 1910-1918.” Film History 5.1 (1993): 63-7.

Gramann, Karola and Heide Schlüpmann, eds. Nachtfalter. Asta Nielsen, ihre Filme. Vienna: Verlag Filmarchiv Austria, 2009.

Iversen, Gunnar. “Sisters of Cinema: Three Norwegian Actors and Their German Film Company, 1917–1920.” In John Fullerton and Jan Olsson, eds. Nordic Explorations: Film Before 1930. London: John Libbey, 1999. 93–101.

Langsted, Adolf. Asta Nielsen. Copenhagen: Nyt Nordisk Forlag, 1918.

Loiperdinger, Martin, and Uli Jung, eds. Importing Asta Nielsen: The International Film Star in the Making, 1910-1914. Bloomington, IN: Indiana University Press, 2013.

Malmkjær, Poul. Asta. Mennesket, myten, og filmstjernen. Copenhagen: P. Haase & Son, 2000.

Nielsen, Asta. Den tiende Muse. 2 vols. Copenhagen: Gyldendal, 1945-1946.

Nørgaard, Erik. Levende billeder i Danmark: Fra den gamle biograf til moderne tider. Copenhagen: Lademann, 1971.

Redvall, Eva Novrup. “Denmark.” In Women Screenwriters: An International Guide. Eds. Jill Nelmes and Jule Selbo. Basingstoke: Palgrave Macmillan, 2015. 266-287.

Schröder, Stephan M. Ideale Kommunikation, reale Filmproduktion: Zur Interaktion von Kino und dänischer Literatur in den Erfolgsjahren des dänischen Stummfilms 1909-1918. Berlin: Nordeuropa-Institut der Humboldt Universität, 2011.

——. “Screenwriting for Nordisk 1906-1918.” In 100 Years of Nordisk Film. Eds. Lisbeth Richter Larsen and Dan Nissen. Copenhagen: The Danish Film Institute, 2006. 96-113.

—–. “Screenwriting for Nordisk 1906-1918.” In 100 Years of Nordisk Film. Eds. Lisbeth Richter Larsen and Dan Nissen. Copenhagen: The Danish Film Institute, 2006. 96-113.

——. “Screenwriting for a Star: The Scripts for Valdemar Psilander’s Films.” Kosmorama (6 March 2017): n.p. http://www.kosmorama.org/Artikler/Screenwriting-for-a-Star.aspx

Schlüpmann, Heide, Eric de Kuyper, Karola Gramann, Sabine Nessel, and Michael Wedel, eds. Unmögliche Liebe. Asta Nielsen, ihr Kino. Vienna: Verlag Filmarchiv Austria, 2009.

Sundholm, John, Isak Thorsen, Lars Gustaf Andersson, Olof Hedling, Gunnar Iversen and Birgir Thor Møller. Historical Dictionary of Scandinavian Cinema. Kanham, Toronto, Plymouth: Scarecrow Press, 2012.

Tind, Eva. Astas skygge. Copenhagen: Gyldendal, 2015.

Wollstein, Hans J. Strangers in Hollywood: The History of Scandinavian Actors in American Films from 1910 to World War II. Metuchen, N.J.: The Scarecrow Press, 1994.

——. “The Strange Case of Valda Valkyrien.” Classic Images (Jan. 1997): 28-30.

FINLAND:

E.I.H. “‘Työn sankarilaulu’–Uusi kotimainen suurelokuva.” Rev. Helsingin Sanomat (1 October 1929): 7. Työn sankarilaulu clippings file, FIH (Katri Viita).

Haartman, Carl von. Antaa Haartmanin yrittää. Helsinki: Otava, 1972.

H-e. “Kotimainen elokuva-ensi-ilta Viipurissa.” Rev. Karjala (13 April 1930): 5. Kajastus clippings file. FIH (Gerda Hintze)

—–.  “Uusi kotimainen elokuva: ‘Työn sankarilaulu.’” Rev. Aamulehti (22 October 1929): 2. Työn sankarilaulu clippings file, FIH (Katri Viita).

Hupanittu, Outi. “Afgrunden aka Kuilu in Finland. Nordiska Biograf Kompaniet, Exclusive Distribution and Newly Established Censorship.” In Martin Loiperdinger and Uli Jung, eds. Importing Asta Nielsen: The International Film Star in the Making, 1910-1914. Bloomington, IN: Indiana University Press, 2013. 65-76.

Laine, Kimmo. “Pääosassa Suomen kansa: Suomi-Filmi ja Suomen Filmiteollisuus kansallisen elokuvan rakentajina 1933–1939. Helsinki: Suomalaisen Kirjallisuuden Seura, 1999.

Ped. “Elokuva sortovuosilta.” Rev. Ylioppilaslehti (30 April 1930): 6-7. Kajastus clippings file. FIH (Gerda Hintze)

Pennanen, Riikka. “Finland–Overview.” In Women Screenwriters: An International Guide. Eds. Jill Nelmes and Jule Selbo. New York, NY: Palgrave Macmillan, 2015. 302-307.

——. “Gerda Hintze.” Elonet, Kansallisfilmografia [online database] (12 June 2014): n.p. http://www.elonet.fi/fi/henkilo/117475

Seppälä, Jaakko. Hollywood tulee Suomeen: yhdysvaltalaisten elokuvien maahantuonti ja vastaanotto kaksikymmentäluvun Suomessa. Helsinki: Helsingin yliopisto, 2012.

“Suomalainen filmi kansainvälisille laduille.” Uusi Suomi (15 June 1929): n.p. Työn sankarilaulu clippings file, FIH. (Katri Viita).

Tammi, Lumikki. “Kuka oli Tuulikki Kallio.” Viikkosanomat 37 (1975): 50-53. (Katri Viita).

Uusitalo, Kari, et al., ed. Suomen kansallisfilmografia 1, 1907–1935: vuosien 1907–1935 suomalaiset kokoillan elokuvat. Helsinki: Edita, 1996.

FRANCE:

Abel, Richard. The Ciné Goes to Town: French Cinema, 1896-1914. Berkeley: University of California Press, 1984.

——. “Frame Stories for Writing the History of French Silent Cinema.” Studies in French Cinema 2.1 (2002): 5-13

——. French Cinema: The First Wave. 1915-1929. Princeton: Princeton University Press, 1984.

——-. ed. French Film Theory and Criticism: A History/Anthology 1907 – 1939. Vol. 1. Princeton: Princeton University Press, 1988.

——. “The Thrills of Grande Peur: Crime Series and Serials in the Belle Epoque.” Velvet Light Trap 37 (Spring 1996): 3-9.

Adams Sitney, P., ed. The Avant-Garde Film: A Reader of Theory and Criticism. New York: Anthology Films Archive, 1987.

Albera, François. Albatros. Des Russes à Paris. Milano-Paris: Mazzotta/Cinémathèque Française, 1995.

Albera, François, and Jean A. Gili, eds. Dictionnaire du cinéma français des années vingt. Special Issue 1895. 33 (2001).

Amad, Paula. “”Objects Became Witnesses”: Ève Francis and the Emergence of French Cinephilia and Film Criticism.” Framework 46. 1 (2005): 56.

Andriopoulos, Stefan. Possessed: Hypnotic Crimes, Corporate Fiction, and the Invention of Cinema. Chicago: University of Chicago Press, 2008.

Arnaud, Etienne, and Boisyvon. Le Cinéma pour tous. Paris: Garnier Frères, 1922.

Aumont, Jacques. La Persistance des images. Paris: Cinémathèque Française, 1996.

Bachy, Victor. Alice Guy-Blaché (1873-1968): la première femme cinéaste du monde. Perpignan: Institut Jean Vigo, 1993.

Bastide, Bernard. “Léonce Perret, maître des lumières et des ombres.” In Léonce Perret. Eds. Bernard Bastide and Jean Gili. Paris/Bologna: Association francaise de recherches sur l’histoire du cinema/Cineteca di Bologna, 2003. 14-19.

Bardèche, Maurice, and Robert Brasillach. Histoire du cinéma. Paris: Denoël and Steele, 1935.

Becker, Annette. War and Faith: The Religious Imagination in France, 1914-1930. Trans. Helen McPhail. New York: Berg, 1998.

Béguin, Marcel. Le Cinéma et l’Église. 100 ans d’histoire(s) en France. Paris: Les Fiches du cinéma, 1995.

Béhar, Henri, ed. Le Cinéma des surréalistes. Lausanne: L’Age d’Homme, 2004.

Bellour, Raymond. Le Corps du cinéma: hypnoses, émotions, animalitiés. Paris: POL, 2009.

Bergstrom, Janet and Mary Ann Doane, eds. “The Spectatrix.” Spec. issue of Camera Obscura 20-1 (1989).

Bernhardt, Sarah. Ma Double Vie: Mémoires de Sarah Bernhardt. Paris: Eugène Fasquelle, 1923.

Bessière, Irène, et Jean A. Gili, eds. Histoire du cinéma. Problématique des sources. Paris: INHA; Maison des sciences de l’homme; Université de Paris I; Association française de recherche sur l’histoire du cinéma, 2004.

Bessy, Maurice M. “Ciné-clubs et écrans d’avant-garde.” Cinémagazine 3 (March 1931): 52. (Lucie Derain)

Billard, Pierre. Le mistère René Clair. Paris: Éditions Plon, 1998.

Borde, Raymond, and Charles Perrin. Les Offices du cinéma éducateur et la survivance du muet (1925-1940). Lyon: Presses Universitaires de Lyon, 1992.

Brenez, Nicole and Christian Lebrat. Jeune, dure et pure! Une histoire du cinéma d’avant-garde et expérimental en France. Paris: Cinémathèque Française; Milan: Mazzotta, 2001.

Brewster, Ben, and Lea Jacobs. Theatre to Cinema: Stage Pictorialism and the Early Feature Film. Oxford: Oxford University Press, 1997.

Butler, Kristin J. “Irma Vep, Vamp in the City: Mapping the Criminal Feminine in Early French Serials.” In Jennifer M. Bean and Diana Negra, eds. A Feminist Reader in Early Cinema. Durham, NC: Duke University Press, 2002. 195-220.

Callahan, Vicki. Zones of Anxiety: Movement, Musidora, and the Crime Serials of Louis Feuillade. Detroit, MI: Wayne State University Press, 2005.

Canjels, Rudmer. “Changing Views and Perspectives: Translating Pearl White’s American Adventures in Wartime France.” In Marin Dahlquist ed., Exporting Perilous Pauline: Pearl White and Serial Film Craze.  Bloomington, Ill: University of Illinois Press, 2013. 25-45.

Carou, Alain. Le Cinéma français et les écrivains: histoire d’une rencontre, 1906-1914. Paris: École nationale des chartes/Association française de recherche sur l’histoire du cinéma, 2002.

Cazals, Patrick. Musidora. La dixième muse. Paris: Éditions Henry Veryier, 1978.

Charney, Leo, and Vanessa R. Schwartz, eds. Cinema and the Invention of Modern Life. Berkeley: University of California Press, 1995.

Chirat, Raymond, ed. Catalogue des films français de long métrage. Films de fiction 1919-1929. Toulouse: Cinémathèque de Toulouse, 1984.

Chirat, Raymond and Eric Le Roy. Catalogue des films français de fiction de 1908 à 1918. Paris: Cinémathèque française/Musée du cinéma, 1995.

Chirat, Raymond, and Jean-Claude Romer, eds. Catalogue des films de fiction de première partie 1929-1939. Service des Archives des Films du CNC, 1984. 

Coissac, Georges Michel. Histoire du cinématographe de ses origines à nos jours. Paris: Éditions du Cinéopse, 1925.

Colette. Colette at the Movies: Criticism and Screenplays. Ed. and introduction by Alain Virnaux and Odette Virnaux. Trans. Sarah W. Smith. New York: Frederick Ungar, 1980.

——. Lettres de la vagabonde. Eds. Claude Pichois and Roberte Forbin. Paris: Flammarion, 1989. 

Cosandey, Roland, André Gaudreault, and Tom Gunning, eds. Une Invention du diable? Cinéma des premiers temps et religion. Sainte-Foy, Québec: Presses de l’Université Laval, 1992.

Crary, Jonathan. Suspensions of Perception: Attention, Spectacle, and Modern Culture. Cambridge, MA: MIT Press, 1999.

Dall’Asta, Monica. “American Serials and the Identity of French Cinema, or How to Resist Colonialization.” Cinegrafie 9 (1996): 224-45.

——. “Pearl, the Swift One, or the Extraordinary Adventures of Pearl White in France.” In Marina Dahlquist, ed. Exporting Perilous Pauline: Pearl White and Serial Film Craze. Bloomington: University of Illinois Press, 2013. 71-98. 

Danzker, J-A. Birnie. Loïe Fuller, Getanzter Jugendstil. München, New York: Ed. Prestel, 1995.

Delmeulle, Frédéric. “Gaumont et la naissance du cinéma d’enseignement (1909-1914).” In Jean A. Gili, Michèle Lagny, Michel Marie, and Vincent Pinel eds.,  Les Vingt premières années du cinéma français. Paris: Presses de la Sorbonne nouvelle, AFRHC, 1995. 67-75.

Derain, Lucie. “L’art moderne à l’écran–Décoration, architecture sous les lumières.” Cinémagazine 4 (27 January 1928): 148-150.

——. “La ville au cinéma. Les poètes de la ville. Les beautés, les laideurs et le mystère des villes.” Cinémagazine 8 (22 February 1929): 319-321.

Duckett, Victoria. “Investigating an interval: Sarah Bernhardt, Hamlet, and the Paris Exposition of 1900.” In Reclaiming the Archive: Feminist Film History. Ed. Vicki Callahan. Detroit: Wayne State University Press, 2010. 193-212.

——. “Her Majesty Moves: Sarah Bernhardt, Queen Elizabeth, and the Development of Motion Pictures.” In The British Monarchy on Screen. Ed. Mandy Merck.  Manchester: The University of Manchester Press, 2016.

——. “The Moving Pictures: Sarah Bernhardt and the Theatrical Film.” Cinegrafie 19 (2006): 314-326.

——. Seeing Sarah Bernhardt: Performance and Silent Film. Champaign, IL: University of Illinois Press, 2015. 

——. “The ‘Voix d’Or’ on Silent Film: The Case of Sarah Bernhardt.” In Researching Women in Silent Cinema: New Findings and Perspectives. Eds. Monica Dall’Asta, Victoria Duckett, and Lucia Tralli. Bologna: University of Bologna, 2013. 318-333. http://amsacta.unibo.it/3816/

Duigou, Serge and Germain Lacasse, Marie de Kerstrat: L’Aristocrate du cinematographe. Quimer, France: Ressac, 1987.

Dulac, Germaine. Germaine Dulac: Écrits sur le Cinéma (1919 – 1937). Ed. Prosper Hillairet. Paris: Éditions Paris Experimental, 1994.

Duckett, Victoria. Seeing Sarah Bernhardt. Performance and Silent Film. Urbana, IL: University of Illinois Press, 2015.

Elsaesser, Thomas, and Adam Barker, eds. Early Cinema: Space, Frame, Narrative. London: British Film Institute, 1990.

Fee, Annie. Gender, Class and Cinephilia: Parisian Cinema Cultures, 1918-1925. Forthcoming.

Flitterman-Lewis, Sandy. “The Image and the Spark: Dulac and Artaud Reviewed.” In  Dada and Surrealist Film. Ed. Rudolf E. Kuenzli. Cambridge, MA: The MIT Press, 1996. 110-127.

——. To Desire Differently: Feminism and the French Cinema. New York: Columbia University Press, 1996.

Ford, Charles. Germaine Dulac. Paris: L’Avant-scène, 1968.

Förster, Annette. Histories of Fame and Failure. Adriënne Solser, Musidora, Nell Shipman: Women Acting and Directing in the Silent Cinema in The Netherlands, France and North America. Utrecht: Utrecht University, 2005.

——. Women in the Silent Cinema: Histories of Fame and Fate. Amsterdam: Amsterdam University Press, 2017.

Fossati, Giovanna. “When the Cinema Was Colored.” In Luciano Berriatúa, ed.,  All the Colors of the World: Colors in Early Mass Media: 1900–1930. Reggio Emilia, Italy: Diabasis, 1998. 121–132. 

Gance, Abel. Histoire du cinématographe de ses origines à nos jours. Paris: Cinéopse, 1925.

Gauteur, Claude. “Quelques affaires au théâtre et au cinéma.” Revue du Cinéma 404 (1985): 73-80.

Gauthier, Christophe. La Passion du cinéma: cinéphiles, ciné-clubs et salles spécialisées à Paris de 1920 à 1929. Paris: Association française de recherche sur l’histoire du cinéma, 1999.

Gauthier, Guy. Un siècle de documentaires français. Paris: Armand Colin, 2004.

Gaycken, Oliver. “‘A Drama Unites Them in a Fight to the Death’: Some Remarks on the Flourishing of a Cinema of Scientific Vernacularization in France, 1909-1914.” Historical Journal of Film, Radio and Television 22.3 (2002): 353-374.

Ghali, Nourredine. L’Avant-garde cinématographique en France dans les années vingt: idées, conceptions, théories. Paris: Paris Experimental, 1995.

Gili, Jean, ed. Du côté de chez Pathe (1895-1935). Paris: AFRHC, 1996.

Giraud, Jean. Le Lexique fraçais du cinéma des origines à 1930. Paris: CNRS, 1958.

Gordon, Rae Beth. Why the French Love Jerry Lewis: From Cabaret to Early Cinema. Stanford: Stanford University Press, 2001.

Gunning, Tom. “Lynx-Eyed Detectives and Shadow Bandits: Visuality and Eclipse in French Detective Stories and Films before WWI.” Yale French Studies 108 (2005): 74-88.

Hagener, Malte. Moving Forward, Looking Back: The European Avant-Garde and the Invention of Film Culture, 1919-1939. Amsterdam: Amsterdam University Press, 2007.

Hansen, Miriam. Babel and Babylon: Spectatorship in American Silent Film. Cambridge, MA: Harvard University Press, 1991.

Hastings, Charles Edward. “Natural Color Moving Pictures—Their History and Advancement”. Moving Picture World (26 March 1927): 346.

Hillairet, Prosper. “Germaine Dulac: une avant-gardiste, pédagogue du cinema.” Au-delà des impressions. Spec. issue of 1895 (2006): 93-106.

Jeancolas, Jean-Pierre.“N.V.D. 28, appel à témoins.” In 100 ans Lumière: rétrospective de l’oeuvre documentaire des grands cinéastes français de Louis Lumière jusqu’à nos jours. Eds. Louis Marcorelles, Claire Devarrieux. Paris, AFA-Intermedia, 1989. 20-22.

Jeanne, René, and Charles Ford. Histoire encyclopédique du cinéma: I, Le cinéma français 1895-1929. Paris: Robert Laffont, 1947. 

Jeanne, René. Cinéma 1900. Paris: Flammarion, 1965. 

Juan, Myriam, Ça c’est Paris! Paris dans le documentaire français des années vingt, 1919-1929. PhD dissertation. Université de Paris I, 2002.

——. “Le cinéma documentaire dans la rue parisienne.” Sociétés et représentations vol. 1, no. 17 (2004): 291-314. 

Kaes, Anton. “The Debate about Cinema: Charting a Controversy (1909-1929).” New German Critique 40 (1987): 7-33.

Keller, Sarah. “Jean Epstein’s Documentary Cinephilia.” Studies in French Cinema 12.2 (2012): 91-105.

——.”‘Optical Harmonies’: Sight and Sound in Germaine Dulac’s Integral Cinema.” In Sofia Bull and Astrid Söderbergh Widding eds., Not So Silent: Women in Cinema before Sound. Stockholm: Acta Universitatis Stockholmiensis, 2010. 159-166.

Keller, Sarah and Jason N. Paul, eds. Jean Epstein: Critical Essays and New Translations. Amsterdam: Amsterdam University Press, 2012.

Kepley, Vance, Jr. “The Workers’ International Relief and the Cinema of the Left, 1921-1935.” Cinema Journal 23.1 (1983): 7-23.

Kermabon, Jacques, ed. Pathé, premier empire du cinéma. Paris: editions Centre George Pompidou, 1994. 

Kneubühler, Valdo. “Opportunities Gone By– Asta Nielsen Films in France before the First World War.” In Martin Loiperdinger and Uli Jung, eds. Importing Asta Nielsen: The International Film Star in the Making, 1910-1914. Bloomington, IN: Indiana University Press, 2013. 273-278.

Lacasse, Germain. Le Bonimenteur de vues animées. Le Cinéma « muet » entre tradition et modernité. Québec: Nota Bene; Paris: Méridiens Klincksieck, 2000.

Lacassin, Francis, ed. Louis Feuillade. Paris: Seghers, 1964.

Lagny, Michèle. ed. Les vingt premieres annees du cinema francais: Actes du colloque international de la Sorbonne Nouvelle, 4, 5 et 6 Novembre 1993. Paris: Presses de la Sorbonne nouvelle; AFRHC, 1995.

Lant, Antonia. “The Cinema of Germaine Dulac, or la vie en Arabesque.” Ghrebh 1.8 (2006): n. p. 17 Apr. 2012. http://revista.cisc.org.br/ghrebh8/artigo.php?dir=artigos&id=antonia_lant.

Lefebvre, Thierry, ed. “Images du réel – La non fiction en France (1890-1930).” Spec. issue of 1895 18 (1995).

Leglise, Paul. Histoire de la politique du cinéma français. Paris: Librairie générale de droit et de jurisprudence, 1970.

Leveratto, Jean-Marc. “Sarah Bernhardt dans Queen Elizabeth (1912), du théâtre (français) au cinéma (américain).” In Théâtre, destin du cinema. Eds. Agathe Torti-Alcayaga and Christine Kheil. Paris: Le Manuscrit, 2013. 25-43.

Lista, Giovanni. Loïe Fuller, Danseuse de la Belle Époque. Paris: Somogy éditions d’art – Éditions Stock, 1994.

Mannoni, Laurent. Histoire de la Cinémathèque française. Paris: Gallimard, 2006.

Mazeline, François. “Mme Thuillier nous rapelle . . . Le temps où le cinéma ne manquait pas de couleurs.” L’Ami du Peuple du Soir (13 December 1929). Qtd. In Anonymous, “Le Gala Méliès.” Le Nouvel Art Cinématographique 5 2nd series (January 1930): 74n1.

Mazet, Eric, ed. Au fil de l’eau: lettres de Louis-Ferdinand Céline à deux amies, Aimée Barancy et Éliane Tayar, et documents annexes. Tusson: Editions du Lérot, 2000.

McMahan, Alison. Alice Guy Blaché: Lost Visionary of the Cinema. New York: Continuum, 2002.

——. Alice Guy Blaché: The Research and Books of Alison McMahan. http://www.aliceguyblache.com/

Mendelys, Christine. “Leurs Confidences.” Fantasio (15 March 1910): 566-567.

Menefee, David. Sarah Bernhardt: Her Films, Her Recordings. Dallas, Texas: Menefee Publishing, 2012.

Meusy, Jean-Jacques, ed. Paris-Palaces ou le temps des cinémas (1894-1918). Paris: CNRS, 1995.

Molhant, Robert. Les Catholiques et le cinéma. Une étrange histoire de craintes et de passions, les débuts, 1895-1935. Bruxelles: Éditions de l’OCIC, 2000.

Monaco, Paul. Cinema and Society: France and Germany during the Twenties. New York: Elsevier, 1976.

Musser, Charles. “Conversions and Convergences: Sarah Bernhardt in the Era of Technological Reproducibility, 1910–1913.” Film History 25:1-2 (2013): 154-174. 

Ockman, Carol and Kenneth E. Silver, eds. Sarah Bernhardt: The Art of High Drama. New Haven and London: Yale University Press, 2005.

Pronier, Ernest. Une vie au théâtre: Sarah Bernhardt. Geneva: A. Jullien, 1942.

Quinn, Michael. “Distribution, the Transient Audience, and the Transition to the Feature Film.” Cinema Journal 40:2 (Winter 2001): 35-56. (Sarah Bernhardt).

Rueff, Suze. I Knew Sarah Bernhardt. London: Frederick Muller Ltd., 1951.

Sadoul, Georges. Histoire du cinéma mondial des origines à nos jours. Paris: Flammarion, 1996.

——. Histoire générale du cinéma. 6 vols. Paris: Denoel, 1973-75.

——. Le Cinéma français. Paris: Flammarion, 1962.

Shi, David E. “Transatlantic Visions: The Impact of the American Cinema upon the French Avant-Garde, 1918-1924.” Journal of Popular Culture 4. 14 (1981): 583.

Silver, Kenneth E. Esprit de corps: The Art of the Parisian Avant-garde and the First World War, 1914-1925. Princeton, N.J: Princeton University Press, 1989.

Slavin, David Henry. Colonial Cinema and Imperial France, 1919-1939: White Blind Spots, Male Fantasies, Settler Myths. Baltimore: Johns Hopkins University Press, 2001.

Slide, Anthony, ed., The Memoirs of Alice Guy Blaché, trans. Roberta and Simone Blaché. Metuchen, N.J.: The Scarecrow Press, 1986. 

Stokes, John. “Sarah Bernhardt.” In John Stokes, Michael R. Booth and Susan Bassnett, Bernhardt, Terry, Duse: The actress in her time. Cambridge: Cambridge University Press, 1988. 13-64.

Stotzky, Pierre. “Screening Asta Nielsen Films in Metz before the First World War.” In Martin Loiperdinger and Uli Jung, eds. Importing Asta Nielsen: The International Film Star in the Making, 1910-1914. Bloomington, IN: Indiana University Press, 2013. 123-141.

Surkis, Judith. Sexing the Citizen: Morality and Masculinity in France, 1870-1920. Ithaca, N.Y.: Cornell University Press, 2006.

Talbot, Frederick. A. Moving Pictures: How They Are Made and Worked. Philadelphia: J.B. Lippincott Co., 1912.

Tayar, Eliane. “Quand j’étais assistante de Carl Dreyer.” Le Courrier cinématographique 49 (6 December 1930): 11; 50 (13 December 1930): 16; 51 (20 December 1930): 16-17; 52 (3 January 1931): 33-34; 53 (10 January 1931): 15; 54 (17 January 1931): 22; 56 (31 January 1931): 21; 57 (7 February 1931): 23-24; 8 (21 February 1931): 17-18. Partially reprinted in Dreyer, Carl Th. Réflexions sur mon métier. Paris: Cahiers du Cinéma, 1997. 169-181.

Thévenet, René, ed. Annuaire biographique du cinéma et de la télevision en France. Paris: Contact-Organisation, 1953.

Tomadjoglou, Kimberly. “Alice Guy’s Great Cinematic Adventure.” In Christine Gledhill and Julia Knight, eds., Doing Women’s Film History. Redraming Cinemas, Past and Future. Urbana, IL: University of Illinois Press, 2015. 95-109.

Trebuil, Christophe. Un Cinéma aux mille visages: le film à épisodes en France 1915-1932. Paris: Association française de recherche sur l’histoire du cinéma, 2012.

——. “L’écran qui fascine: spectateurs dans les salles de cinéma des années vingt en France.” 1895 48 (2006): 26-45.

Vichi, Laura. “Harmonies de Paris ou le documentaire entre avant-garde et populisme.” In Da Caligari al cinema senza nomiStudi in onore di Leonardo Quaresima. Milan: Mimesis, 2017.

Vincendeau, Ginette. “The 13th Créteil International Women’s Film Festival, 5-14 April 1991.” Screen 32.4 (Winter 1991): 435-40.

——. “Melodramatic Realism: On Some French Women’s Films in the 1930s.” Screen 30. 3 (Summer 1989): 51-65.

Virmaux, Alain and Odette, eds. Colette at The Movies. Criticism and Screenplays. New York: Frederick Ungar Publishing Co., 1980.

Weber, Alain. Cinéma(s) français 1900-1939: pour un monde different. Paris: Séguier, 2002.

Wild, Jennifer Jane. L’Imagination Cinémentale: The Cinematic Impression on Avant-Garde Art in France, 1913-1929. PhD dissertation, University of Iowa, 2006. 

Williams, Alan. Republic of Images: A History of French Filmmaking. Cambridge: Harvard University Press, 1992.

Williams, Tami. Beyond Impressions: The Life and Films of Germaine Dulac from Aesthetics to Politics. Dissertation, UCLA, 2007.

——. Germaine Dulac: A Cinema of Sensations. Champaign, IL: UI Press, 2014.

——. “Germaine Dulac: Du figuratif à l’abstraction.” In Nicole Brenez and Christian Lebrat eds., Jeune, dure et pure! Une histoire du cinéma d’avant-garde et expérimental en France. Paris: Cinémathèque française, 2001. 78-82.

——. “The ‘Silent’ Arts: Modern Pantomime and the Making of an Art Cinema in Belle Époque Paris. The Case of Georges Wague and Germaine Dulac.” In A Companion to Early Cinema. Eds. André Gaudreault, Nicolas Dulac, and Santiago Hidalgo. Chichester: Wiley-Blackwell, 2012. 99-118.

——. “Toward the Development of a Modern ‘Impressionist’ Cinema: Germaine Dulac’s La Belle Dame sans merci (1921) and the Deconstruction of the Femme Fatale Archetype.” Framework 51.2 (2010): 404-419.

Willaims, Tami and Laurent Véray, eds. “Germaine Dulac, Au-delà des impressions.” Spec. issue of 1985 (2006).

Yumibe, Joshua. Moving Color: Early Film, Mass Culture, Modernism. New Brunswick, N.J.: Rutgers University Press, 2012.

GERMANY:

Altenloh, Emilie. Zur Soziologie des Kino: Die Kino-Unternehmung und die sozialen Schichten ihrer Besucher /On the Sociology of the Cinema: Film Entertainment and the Social Classes of its Patrons. Jena: Eugen Diederichs, 1914.

Aurich, Rolf and Wolfgang Jacobsen, eds. Werkstattfilm. Munich: edition text + kritik, 1998.

Beckerman, Howard. “Animated Women.” Filmmakers Newsletter (Summer 1974): 40-42. (Lotte Reiniger)

Birett, Herbert, ed. Verzeichnis in Deutschland gelaufener Filme — Entscheidungen der Filmzensur 1911–1920. Berlin: K.G. Saur, 1980.

Bruns, Karin. Kinomythen 1920-1945: Die Filmentwürfe der Thea von Harbou. Stuttgart: Metzler, 1995.

Coté, Guy. “The Films of Lotte Reiniger.” Film Culture 9 (1956): 20. 

Crafton, Donald. Before Mickey: The Animated Film, 1898-1928. Cambridge, Mass: MIT Press, 1982. (Lotte Reiniger)

Curtis, Scott. “The Taste of a Nation: Training the Senses and Sensibility of Cinema Audiences in Imperial Germany.” Film History 6.4 (1994): 445-469.

Diaz, Pablo. Asta Nielsen. Eine Biographie unserer populären Künstlerin. Translated from Spanish. Berlin: Verlag der Lichtbild-Bühne, 1927.

Dütsch, Werner, ed. Lotte Reiniger. Eine Dokumentation. Berlin: Deutschen Kinemathek, 1969.

Elsner, Poul. “Die Duse des Films.” Weltrundschau (1911): 517.

Ferbier, Carola et al., eds. Lotte Reiniger. Filme/FilmsMünchen: Goethe Institut, 1999.

Förster, Annette. “Dr. R. Portegg, I presume? Comedies by and with Rosa Porten.” Catalogue Il Cinema Ritrovato. Bologna: Cineteca di Bologna, 2014. 48-54.

Ganeva, Mila. Women in Weimar Fashion: Discourses and Displays in German Culture 1918-1933. Rochester, NY: Camden House, 2008.

Gassen, Heiner, and Lotte Reiniger. Lotte Reiniger, Carl Koch, Jean Renoir: Szenen Einer Freundschaft [anlässlich Einer Ausstellung Im Stadtmuseum Tübingen, 16.6.- 14.8.1994]. München : CICIM, 1994.

Gehrts, Meg. A Camera Actress in the Wilds of Togoland. London: Seeley Service, 1915.

Gramann, Karola and Heide Schlüpmann, eds. Nachtfalter. Asta Nielsen, ihre Filme. Vienna: Verlag Filmarchiv Austria, 2009.

Hake, Sabine. Passions and Deceptions: The Early Films of Ernst Lubitsch. Princeton: Princeton University Press, 1992.

Hansch, Gabrielle and Gerlinde Waz. Filmpionierinnen in Deutschland. Ein Beitrag zur Filmgeschichtsschreibung. Unpublished, Berlin, 1998.

Hansert, Andreas. Asta Nielsen und die Filmstadt Babelsberg, Das Engagement Carl Schleussners in der Deutschen Filmindustrie. Petersburg, Germany: Michael Imhof Verlag, 2007.

Happ, Alfred, and Lotte Reiniger. Lotte Reiniger: 1899 – 1981 Schöpferin Einer Neuen Silhouettenkunst. Tübingen: Kulturamt, 2004.

——. Lotte Reiniger: Schauspieler-silhouetten, Mozart-Opern, Andersen-MärchenAspekte E. Lebenswerks. E. Ausstellung Im Sommer 1982, Städt. Sammlungen. Tübingen: Kulturamt, 1982

Kasten, Jürgen. Film schreiben: eine Geschichte des Drehbuchs.Vienna: Hora-Verlag, 1990.

Keiner, Reinhold. Thea von Harbou und der deutsche Film bis 1933. Hildesheim: Georg Olms, 1984.

Kemp, Philip. “Reiniger, Lotte (1899-1981).” BFI Screenonline. n.d. n.p. http://www.screenonline.org.uk/people/id/528134/

Lamprecht, Gerhard. Deutsche Stummfilme 1917–1918. Berlin: Deutsche Kinematek, 1969.

Ligensa, Annemone. “Asta Nielsen in Germany: A Reception-Oriented Approach.” In Martin Loiperdinger and Uli Jung, eds. Importing Asta Nielsen: The International Film Star in the Making, 1910-1914. Bloomington, IN: Indiana University Press, 2013. 343-366.

Loacker, Armin and Martin Prucha, eds. Unerwünschtes Kino: Der deutschsprachige Emigratenfilm 1934-1937. Vienna: Filmarchiv Austria, 2000.

Loiperdinger, Martin. “‘Die Duse der Kino-Kunst’. Asta Nielsen’s Berlin Made Brand.” In Martin Loiperdinger and Uli Jung, eds. Importing Asta Nielsen: The International Film Star in the Making, 1910-1914. Bloomington, IN: Indiana University Press, 2013. 93-112.

Moritz, William. “Some Critical Perspectives on Lotte Reiniger.” Animation Journal  5. 1 (Fall 1996): 40-51.

——. “Lotte Reiniger.” Animation World Network (1996): n.p. http://www.awn.com/mag/issue1.3/articles/moritz1.3.html

Pilling, Jayne. Women and Animation: A Compendium. London: British Film Institute, Exhibition & Distribution Division, 1992. (Lotte Reiniger)

Prawer, Siegbert Salomon. Between Two Worlds: The Jewish Presence in German and Austrian Film, 1910-1933. New York and Oxford: Berghahn, 2005.

Pudovkin, Vsevolod. Filmregie und Filmmanuskript. Berlin: Lichtbildbühne, 1928.

Reiniger, Lotte, and Margit Downar. Lotte Reiniger, Silhouettenfilm Und Schattentheater: 2. Juni-17. August 1979, Ausstellung Des Puppentheatermuseums Im Münchner Stadtmuseum. München: Lipp, 1979.

Schlüpmann, Heide. “27 May 1911: Asta Nielsen Secures Unprecedented Artistic Control.” In A New History of German Cinema. Eds. Jennifer M. Kapczynski and Michael D. Richardson. Rochester, NY: Camden House, 2012. 44-50.

Schlüpmann, Heide, Eric de Kuyper, Karola Gramann, Sabine Nessel, and Michael Wedel, eds. Unmögliche Liebe. Asta Nielsen, ihr Kino. Vienna: Verlag Filmarchiv Austria, 2009.

Schnorr, Günter. Lotte Reiniger. Bochum: Deutsches Institut für Puppenspiel, 1978.

Tichy, Wolfram and Walter Schobert, eds. Lotte Reiniger, David W. Griffith, Harry Langdon. Frankfurt/Main: Kommunales Kino, 1972. 

Usai, Paolo Cherchi and Codelli, Lorenzo, eds. Before Caligari: German Cinema, 1895–1920/Prima di Caligari: Cinema tedesco, 1895–1920. Pordenone: Le Giornate del Cinema Muto/Edizioni Biblioteca dell’Immagine, 1990.

GREECE: 

Delveroudi, Eliza Anna. “When Iris Skaravaiou Met Iris Barry: The First Greek Film Reviewer and West European Modernity.”  In Christine Gledhill and Julia Knight eds., Doing Women’s Film History. Reframing Cinemas, Past and Future.  Urbana, IL: University of Illinois Press, 2015. 66-77

——. Il Regista e la Diva: L’attice Carmen Cartellieri e Cornelius Hintner, Regista. Bolzano: Bolzano Centro Audiovisivi Bolzano/Provincia Autonoma di Bolzano Alto Adige, 2000.

“Carmen Cartellieri—Stummfilmstar.” Viennale 2000. Katalog des Vienna International Film Festival. Vienna: Viennale 2000. 178–79.

ICELAND: 

Schindler, Agnes. “’Aðalhlutverkið leikur: Frú Asta Nielsen-Gad’. Asta Nielsen Films in Reykjavík, 1912–1915.” In Martin Loiperdinger and Uli Jung, eds. Importing Asta Nielsen: The International Film Star in the Making, 1910-1914. Bloomington, IN: Indiana University Press, 2013. 53-64.

IRELAND:

Adams, Bernard. Denis Johnston: A Life. Dublin: Lilliput, 2002.

Advertisement. Irish Times (20 Aug. 1930): 6. (Mary Manning)

—–. Irish Times (23 Aug. 1930): 6. (Mary Manning)

—–. Irish Times (26 Aug. 1930): 6. (Mary Manning)

—–. Irish Independent (23 Aug. 1930): 8. (Mary Manning)

—–. Irish Independent (26 Aug. 1930): 6. (Mary Manning)

“Ambush in Wicklow.” Irish Press (5 June 1933): 1.

Barton, Ruth. Irish National Cinema. New York: Routledge, 2004.

Casella, Donna R. “Women and Nationalism in Indigenous Irish Filmmaking of the Silent Period.” In Researching Women in Silent Cinema: New Findings and Perspectives. Eds. Monica Dall’Asta, Victoria Duckett, and Lucia Tralli. Bologna: University of Bologna, 2013. 53-80.

Casey, Philip. Irish Writers Online: A Concise Dictionary of Irish Writers, 2015. 27 May 1915.  http://www.irishwriters-online.com

Condon, Denis. Early Irish Cinema, 1895-1921. Dublin: Irish Academic Press, 2008.

Coward, Simon, Richard Down, and Christopher Woodall Perry. BBC Television Drama Guide 1936-2006. 5 vols. Dudley, UK: Kaleidoscope, 2006.

Dean, Joan. “American Letter.” Film West 36 (May 1999): 20-23.

“Death Notice.” Limerick Leader (19 May 1919): 3. (Ellen O’Mara Sullivan)

Donovan, Stephen. “Introduction: Ireland’s Own Film.” Screening the Past 33 (2012): n.p. http://www.screeningthepast.com/2012/02/introduction-ireland’s-own-film/

Downing, Taylor. “The Film Company of Ireland.” Sight & Sound 49.1 (Winter 1979/80): 42-45.

“Dublin May Rival Hollywood if Film Productions Pay.” People (24 Aug. 1930): n.p. Norris Davidson file, Liam O’Laoghaire Archives. NLI

Felter, Maryanne, and Daniel Schultz. “James Mark Sullivan and the Film Company of Ireland.” New Hibernia Review 8.2 (Summer 2004): 24-40.

——. “Selling Memories, Strengthening Nationalism: The Marketing of Film Company of Ireland’s Silent Films in America.” The Canadian Journal of Irish Studies 32.2 (Fall 2006): 10-20.

“Film Makers at Work.” Dublin Evening Mail (10 July 1930): 3.

“Film Production in Dublin.” Irish Independent (11 July 1930): 10

“Film Shot in Dublin.” Irish Independent (20 Aug. 1930): 8.

“Filming of Frank O’Connor Classic Recalled.” Irish Independent (26 Mar. 1968): 8.

“First Wholly-Irish Film Shown.” Irish Press (21 Jan. 1935): 7.

Fitz-Simon, Christopher. The Abbey Theatre: Ireland’s National Theatre – The First 100 Years. London: Thames & Hudson, 2003.

“From Lantern to Slide Show.” Memories in Focus. Raidió Teilifís Éireann (RTÉ), Dublin. 27 Apr. 1995. Television. IEDRTÉ.

“Irish Productions Find Their Feet.” Memories in Focus. Raidió Teilifís Éireann (RTÉ), Dublin. 4 May 1995. Television. IEDRTÉ.

“Irish Playwright – Critic – Novelist Mary Manning Adams is Dead at 93. Obit. Playbill.July 1, 1999. http://www.playbill.com/news/article/irish-playwright-critic-novelist-mary-manning-adams-is-dead-at-93-82864

J.A.P. “Fine All-Irish Amateur Film.” Irish Independent (21 Jan. 1935): 7. 

Johnston, Denis. “3rd Omnibus X Book.” Denis Johnston Papers (MS 10066/181/95/194). TC.

Johnston, Denis. “Our First Film.” Creation (Nov. 1958): 79-80.

“Late Mrs. E. Sullivan.” Limerick Leader (23 May 1919): 3.

Leeney, Cathy. Irish Women Playwrights 1900-1939: Gender and Violence on Stage. New York: Peter Lang, 2010.

“Let’s Be Dublin: A Conversation between Mary Manning and Mary Rose Callaghan.” Journal of Irish Literature XV.3 (Sept. 1986): 3-41.

“A Little Theatre.” Irish Examiner (13 Sept. 1930): 15.

Luke, Peter, ed. Enter Certain Players: Edwards-MacLiammóir and the Gate 1928-1978. Dublin: Dolmen Press 1978. 35-39.

MacDonagh, John. “Film Production in Ireland in the Early Days.” In Cinema Ireland 1895-1976. Ed. Liam O’Leary. Pamphlet. Dublin: Dublin Arts Festival, 1976. 10-13.

MacLiammóir, Michael. “Some Talented Women.” The Bell 8.2 (May 1944): 117-27. 

“Mark de Wolfe Howe Dies; Lawyer, Historian Was 60.” Obit. The Harvard Crimson.(1 Mar. 1967) http://www.thecrimson.com/article/1967/3/1/mark-de-wolfe-howe-dies-lawyer/

“Mary (Manning) Howe Adams.” Cambridge Women’s Heritage Project. 2012. 27 May 2015. http://www2.cambridgema.gov/historic/cwhp/bios_m.html

“Mary M. Adams, 93; Irish Novelist and Playwright.” Obit. The Boston Globe (27 June 1999): 7.

“Mary Manning Howe Adams.” Obit. The Irish Times (8 July 1999): 19.

Meaney, Geradine. “Landscapes of Desire: Women and Ireland on Film.” Women: A Cultural Review 9.3 (1998): 237–51.

Morash, Christopher. A History of Irish Theatre 1600-2000. Cambridge: Cambridge University Press, 2004.

“Mrs. James M. Sullivan Dies in Ireland.” The Gaelic American (14 June 1919): n.p.  Liam Ó Laoghaire Archive. NLI.

Ó Conluain, Proinsias. “Ireland’s First Films.” Sight & Sound 23.2 (Oct-Dec. 1953): 96-98.

O’Laoghaire, Liam. “To the Editor of the Motley.” Letter. Motley (Oct. 1932): 13. 

“Producing Films in Ireland.” Irish Independent (26 Aug. 1930): 10.

Programme, Guests of the Nation. 16 Mar. 1960. Guests of the Nation clippings file. IED-TML

“A Psychological Film.” Dublin Evening Mail (23 Aug. 1930): 6. 

Quidnunc. “An Irishman’s Diary. Historic Films.” Irish Times (16 Mar. 1960): 8.

Rhodes, Gary D. “The Film Company of Ireland and the Irish-American Press.” Screening the Past 33 (2012): n.p. http://www.screeningthepast.com/2012/02/the-film-company-of-ireland-and-the-irish-american-press/

Rockett, Kevin. “Part One: History, Politics and Irish Cinema.” In Kevin Rockett, Luke Gibbons and John Hill, Cinema and Ireland. London: Croom Helm, 1988. 1-126. 

——, and Emir Rockett. Irish Film and Television Research Online. Mar. 15 2012. http://www.tcd.ie/irishfilm/

Schultz, Dan, and Maryanne Felter. “The Making of an Irish Nationalist: James Mark Sullivan and the Film Company of Ireland in America.” Screening the Past 33 (2012): n.p. http://www.screeningthepast.com/2012/02/the-making-of-an-irish-nationalist/

Slide, Anthony. The Cinema and Ireland. Jefferson, NC: McFarland, 1988.

Trotter, Mary. Ireland’s National Theaters: Political Performance and the Origins of the Irish Dramatic Movement. Syracuse: Syracuse University Press, 2001. 

ITALY:

Alacci, Tito. Le nostre attrici cinematografiche: studiate sullo schermo. Firenze: R. Bemporad & Figlio, 1919.

Alovisio, Silvio and Alberto Barbera, eds. Cabiria & Cabiria. Milano: Il Castoro/Museo Nazionale del Cinema, 2006.

——. “Il cinema italiano dalle origini all’avvento del sonoro.” In Introduzione al cinema muto italiano. Eds. Silvio Alovisio, Giulia Carluccio. Torino: Utet, 2014. 19-24.

“Annuncio della fondazione della Liana film.” Film 30 (30 Settembre 1919): 21. (Elvira Giallanella)

Annunziata, Gina. “Matilde Serao e il cinematografo.” In Non solo dive. Pioniere del cinema italiano. Ed. Monica Dall’Asta. Bologna: Cineteca di Bologna, 2008. 250-256.

Aprà, Adriano, Aldo Bernardini, Vittorio Martinelli, and Partrizia Pistagnesi, eds. Napoletana, Images of a City. Milan: Fabbri Editori, 1993.

Bernardini, Aldo. Cinema muto italiano. 1905-1909. Roma-Bari: Editori Laterza, 1981.

——. Cinema muto italiano. 1910-1914. Roma-Bari: Editori Laterza, 1982.

Bertellini, Giorgio. “Introduction.” In “Early Italian Cinema.” Special Issue, Film History 12.3 (2000): 235-239

——. “Italian Imageries, Historical Feature Films, and the Fabrication of Italy’s Spectators in Early 1900s New York.” American Movie Audiences: From the Turn of the Century to the Early Sound Era. London: BFI Pub., 1999. 29-45.

——, ed. Silent Italian Cinema: A Reader. Bloomington: Indiana University Press, 2013.

“Bianca Virginia Camagni.” Enciclopedia dello Spettacolo. Roma: Le Maschere, 1959. 1540-1541.

“Bianca Virginia Camagni.” Filmlexicon degli autori e delle opere. Roma: Bianco e Nero, 1961. 1146.

Bianchi, Pietro. Francesca Bertini e le dive del cinema muto. Torino: Utet, 1969. 

Brunetta, Gian Piero. Il cinema muto italiano. Rome-Bari: Laterza, 2008.

——. Storia del cinema italiano 1. Il cinema muto, 1895-1929. Roma: Editori Riuniti, 2001.

Bruno, Giuliana. “City Views, the Voyage of Film Images.” In The Cinematic City. Ed. David Clark. London and New York: Routledge, 1997. 46-58.

——. Streetwalking on a Ruined Map. Cultural Theory and the City Films of Elvira Notari. Princeton: Princeton University Press, 1993.

——. Rovine con vista. Alla ricerca del cinema perduto di Elvira Notari. Milano: La Tartaruga Edizioni, Milano 1995.

—— and Maria Nadotti, ed., Offscreen, Women and Film in Italy. London and New York : Routledge, 1988. 

Chiti, Roberto. Dizionario dei registi del cinema muto italiano. Roma: M.I.C.S., 1997.

“Chiusura di bilancio.” La Vita Cinematografica (Dicembre 1920): 312-316
. (Elvira Giallanella)

Dall’Asta, Monica, ed. Non solo dive. Pioniere del cinema italiano. Bologna: Cineteca di Bologna, 2009.

——, and Jane Gaines. “Constellations: Past Meets Present in Feminist Film History.” In Doing Women’s Film History: Reframing Cinemas, Past and Future. Eds. Christine Gledhill, Julia Knight. Urbana: University of Illinois Press, 2015. 13-28. 

Dalle Vacche, Angela. The Body in the Mirror: Shapes of History in Italian Cinema. Princeton, NJ: Princeton University Press, 1992.

D’Amico, Silvio. Enciclopedia dello Spettacolo. Vol. II. Rome: Le maschere, 1954-1962.

De Berti, Raffaele. “Milano Films: the Exemplary History of a Film Company of the 1910s.” Film History 3 (2000): 276-287.

De Nunzio Schilardi, Wanda. L’invenzione del reale. Studi su Matilde Serao. Bari: Palomar, Bari 2005.

“Diana Karenne al Modernissimo.” La cinematografia italiana ed estera 6 (1916): 50. 

Friedemann, Alberto. “Imprenditoria femminile nel cinema torinese.” In Non solo  dive. Pioniere del cinema italiano. Ed. Monica Dall’Asta. Bologna: Cineteca di Bologna, 2008. 195-228. 

——. Celluloide e argento. Le società tecniche torinesi. Turin: Biblioteca Fert, 2003.

——. Le case di vetro. Stabilimenti cinematografici e teatri di posa a Torino, Turin: Associazione Fert, 2002.

Gaines, Jane. “Esse sono noi? Il nostro lavoro sulle donne al lavoro nell’industria cinematografica muta.” In Monica Dall’Asta ed., Non solo dive. Pioniere del cinema italiano. Bologna: Cineteca di Bologna, 2008. 19–30.

Giordani, Claudia. “The Copy Vanishes, ovvero Il film senza il film. Note su Fantasia bianca.” Fotogenia (1999): 133-148. (Bianca Virginia Camagni)

Guerra, Elda. “Oltre i confini. Il movimento delle donne tra Otto e Novecento e l’affermazione di una nuova soggettività.” In Non solo dive. Pioniere del cinema italiano. Ed. Monica Dall’Asta. Bologna: Cineteca di Bologna, 2008. 39-48.

“Informazioni, Liana Film.” Film 37 (29 Novembre 1919): 11.


Jandelli, Cristina. “‘La più intelligente di tutte’: Diana Karenne.” In Non solo dive. Pioniere del cinema italiano. Ed. Monica Dall’Asta. Bologna: Cineteca di Bologna, 2008. 51-58.

——. Le dive italiane del cinema muto. Palermo: l’Epos, 2006.

La ‘Liana Films.’” Film 8 (26 Febbraio 1920): 11. (Elvira Giallanella)

“La signora Giallanella.” Film 36 (1917): 3-5
.

Lasi, Giovanni. “Italy’s First Film Star– Asta Nielsen, ‘Polaris.’” In Martin Loiperdinger and Uli Jung, eds. Importing Asta Nielsen: The International Film Star in the Making, 1910-1914. Bloomington, IN: Indiana University Press, 2013. 235-246.

“Liana Film.” La Rivista Cinematografica 6 (Marzo 1920): 62.

“Liana Film.” La Vita Cinematografica 7-8. (22­-29 Febbraio 1920): 119.

Manelli, Francesco. “Camagnina.” La vita cinematografica (December 1916): 212-213.

Martinelli, Vittorio. Il cinema muto italiano. 1921. Turin: Eri, 1996.

——. “Il cinema muto italiano, 1919: I film del dopoguerra.” Bianco & Nero (Jan./June 1980): 19-20.

——. “Il cinema muto italiano.” B&NRivista del centro sperimentale di cinematografia (1919): 276-277.


——. Le dive del silenzio. Bologna: Cineteca di Bologna, 2001. 

——. “Les metteuses-en-scène.” Cinema 60: mensile di cultura cinematografica 141 (September – October 1981): 20-25

——. “Una realtà ignorata: lo sviluppo del cinema regionale in Italia negli anni venti.”Immagine 40-41 (1998): 1-11.

Masi, Stefano and Mario Franco, eds. Il Mare, la Luna, i Coltelli. Per una Storia del Cinema Muto Napoletano. Napoli: Tullio Pironti, 1988.

Mattozzi, Rino. La rassegna generale della cinematografia.  Roma: (Unione cinematografica italiana) Soc. Ed. Rassegne, 1920.

Miscuglio, Annabella and Rony Daopoulo, eds. Kinomata. La donna nel cinema Bari: Dedalo, 1980.

Miscuglio, Annabella. “An affectionate and irreverent account of eighty years of women’s cinema in Italy.” In Offscreen, Women and Film in Italy. Eds. Giuliana Bruno and Maria Nadotti. London and New York: Routledge, 1988.

“Nel mondo cinematografico romano, la signora Giallanella.” Film 5 (10 Febbraio 1917): 5.

Paolella, Roberto. Storia del cinema muto. Napoli: Giannini, 1956.

Pepi, Leonardo. Elena Mazzantini alias Daisy Sylvan, pioniera del cinema muto italiano. Thesis,  University of Florence, 2008.

Pravadelli, Veronica. Le donne del cinema. Dive, registe, spettatrici. Napoli: Laterza, 2014.

Prono, Franco. “Atti di nascita del cinema a Torino.” In Le fabbriche della fantasticheria. Atti di nascita del cinema a Torino. Ed. Ira Fabri. Torino: Testo & Immagine, 1997. 134-137.

Pupino, Angelo R, ed.Matilde Serao: Le opere e i giorniAtti Del Convegno Di Studi (Napoli, 1-4 Dicembre 2004). Napoli: Liguori, 2006.

Scialo, Pasquale, ed. Sceneggiata: rappresentazioni di un genere popolare. Napoli: Luogo, Editore Alfreda Guida, 2002.

Scardino, Lucio. “Il giovane Sepo: dall’Accademia a Comacchio, dalla scultura a ‘Fantasia bianca.’” Anedocta (June 2003): 95-104. 

—–. “Pozzati nel cinema: il ‘Fantasia bianca’ e altre fantasticherie del comacchiese.” In Sepo 1895-1983. La donazione Severo Pozzati al Comune di Pieve di Cento. Eds. Tiberio Artioli, and Sabrina Cavicchi Cantoni. Cento: Siaca Editore, 2000. 40-42.

——.“Sepo Cineasta.” Pianura (1979): 56-58.

Sheehy, Helen. Eleonora Duse. La donna, le passioni, la leggenda. Milano: Arnoldo Mondadori, 2005.

Troianelli, Enza. Elvira Notari, pioniera del cinema napoletano (1857-1946). Rome: EURoma Editrice Universitaria di Roma – La Goliardica, 1989.

Veronesi, Micaela. “A woman wishes to ‘Make a new World.’ Umanità by Elvira Giallanella.” In Not so Silent. Women in Cinema before Sound. Eds. Sofia Bull, Astrid Soderbergh Widding. Stockholm: Stockholm University Press, 2010. 67- 79.

——.  “Elvira Giallanella.” In Quaderni del CSCI. Rivista annuale di cinema italiano (2015): 288-289. 

——“Una donna vuol rifare il mondo. Umanità di Elvira Giallanella.” In Non solo dive. Pioniere del cinema italiano. Ed. Monica Dall’Asta. Bologna: Cineteca di Bologna, 2008. 159-172.

——. “Uno sguardo femminile sulla Grande Guerra. Il caso del film Umanità di Elvira Giallanella.” In Nuove frontiere per la storia di genere. Eds. Laura Guidi, Maria Rosaria Pelizzari. Atti del congresso SIS, Napoli, 28-30 Gennaio, 2010. 279-283.

Vicarelli, Giovanna. “Introduzione.” In Donne e professioni nell’Italia del Novecento. Ed. Giovanna Vicarelli. Bologna: Il Mulino, 2007. 10-23. 

Welle, John P. “Film on Paper: Early Italian Cinema Literature, 1907-1920.” Film History 12. 3 (2000): 288-299.

LUXEMBOURG:

Lesch, Paul. “‘Earning the Audience’s Unbridled Applause’– Asta Nielsen Films in Luxembourg.” In Martin Loiperdinger and Uli Jung, eds. Importing Asta Nielsen: The International Film Star in the Making, 1910-1914. Bloomington, IN: Indiana University Press, 2013: 179-186.

THE NETHERLANDS:

van Beusekom, Ansje. “Distributing, Programming and Recycling Asta Nielsen Films in the Netherlands, 1911–1920.” In Martin Loiperdinger and Uli Jung, eds. Importing Asta Nielsen: The International Film Star in the Making, 1910-1914. Bloomington, IN: Indiana University Press, 2013. 259-272.

Donaldson, Geoffrey.Of Joy and Sorrow: A Filmography of Dutch Silent Fiction. Amsterdam: Nederlands Filmmuseum, 1997.

Förster, Annette. Histories of Fame and Failure. Adriënne Solser, Musidora, Nell Shipman: Women Acting and Directing in the Silent Cinema in The Netherlands, France and North America. Diss. Utrecht University, 2005.

——. Women in the Silent Cinema: Histories of Fame and Fate. Amsterdam: Amsterdam University Press, 2017.

Ruppin, Dafna. “Asta Nielsen, Cinema-going and Film Censorship in the Netherlands Indies, 1912–1918.” In Martin Loiperdinger and Uli Jung, eds. Importing Asta Nielsen: The International Film Star in the Making, 1910-1914. Bloomington, IN: Indiana University Press, 2013. 299-308.

NORWAY:

Braaten, Lars Thomas m.fl. Filmen i Norge. Norske kinofilmer gjennom 100 år. Oslo: Ad Notam Gyldendal, 1995.

Dahl, Hans Fredrik.  m.fl. Kinoens Mørke. Fjernsynets lys. Oslo: Gyldendal, 1996.

Fullerton, John and Jan Olsson, eds. Nordic Explorations: Film Before 1930. London: John Libbey, 1999.

Kuhn, Annette. Cinema, Censorship and Sexuality 1909-1925. London: Routledge, 1988 (Fernanda Nissen)

Lunde, Reidar. Erling Drangsholt. Oslo: Nasjonalforlaget, 1943.

Myrstad, Anne Marit.  Melodrama, kjønn og nasjon. Unpublished Ph.D. dissertation. University of Trondheim, 1996. (Fernanda Nissen)

Nymo, Tanya P. Slibrige scener – listige knep. Statens filmkontroll og den moralske orden 1913-1940. Oslo: Spartacus, 2003.

Skjønsberg, Kari. Fernanda Nissen. Oslo: Tiden Norsk Forlag, 1978.

POLAND:

Debski, Andrzej. “Afgrunden in Warsaw and Asta Nielsen’s Popularity in Polish Territories.” In Martin Loiperdinger and Uli Jung, eds. Importing Asta Nielsen: The International Film Star in the Making, 1910-1914. Bloomington, IN: Indiana University Press, 2013. 77-86.

RUSSIA:

Agadzhanova, Nina. “1905 god.” Sovetskii ekran 33 (1925): 3-4.

——. “Zametki o refleksakh v kino.” Kino-front 9-10 (1926): 13-14. 

Agadzhanova-Shutko, Nina. “Kakovy dostizheniia?” Kino 46 (15 November 1927): 4. 

Agadzhanova-Shutko, Nina F. “Otryvki iz stsenariia ‘1905 god’.” Kino-zhurnal A.R.K. 11-12 (1925): 5-6.

Albéra, François, Ekaterina Chochlova, and Valérie Pozner. Kouléchov et les Siens. Locarno: Ed. du Festival international du film de Locarno, 1990.

Attwood, Lynn. Red Women on the Silver Screen: Soviet Women and Cinema from the Beginning to the End of the Communist Era. London: Pandora, 1993.

Barooshian, Vahan. “Russian Futurism in the Late 1920s: Literature of Fact.” The Slavic and east Europan Journal 15. 1 (Spring 1971): 38-46.

Cavendish, Philip. “The Men with the Movie Cameras: The Theory and Practice of Camera Operation Within the Soviet Avant-Garde of 1920s.” Seer  85. 4 (October 2007): 684-723.

Dickerman, Leah. “The Fact and the Photograph.” October 118 (Fall, 2006): 132-152

Dunbar, Robert. Women Filmmakers & Their Films. New York and London: St. James Press, Detroit, 1998.

Dziga Vertov by His Contemporaries. Moscow, 1976. Rpt. Dziga Vertov Revisited. Program notes. New York: Collective for Living Cinema, April – May 1984. 15.

Filippov, B., E. Saricheva, et al. “O.V.Rakhmanova [Obituary].” Literatura i iskusstvo 3 (1944): 4.

Gillespie, David. Early Soviet Cinema: Innovation, Ideology and Propaganda. London: Wallflower Press, 2005.

Ginzburg, Semen. Kinematografiia dorevoliutsionnoi Rossii. Moscow: Agraf, 2007. 

Gough, Maria. “Faktura: The Making of the Russian Avant-Garde.”  Anthropology and Aesthetics 36 (Autumn 1999): 32-59

Halter, Regine. “Esther Schub: Ihre Bedeutung für die Entwicklung des Dokumentarfilms.” Frauen und Film 9 (1976): 34-44.

Khokhlova, Ekaterina. “Kto iavliaetsia avtorom ‘Bronenostsa Potemkin’?” Kinovedcheskie zapiski 16 (1992): 140-46.

Korotkii, Viktor. Operatory i rezhissery russkogo igrovogo kino (1897–1921). Moscow: NII kinoiskusstva, 2009. 

Kotenko, Evgenii, and Vasilii Sugoniai. Sviaznoi Moskvy. Moscow: Moskovskii rabochii, 1975.

Kuleshov, Lev. “Kaki a stal rezhisserom?” In Kak ia stal rezhisserom? Moscow: Goskinoizdat, 1946. 156-162. 

——. Sobranie sochinenii v trekh tomakh. Vol. 2. Moscow: Iskusstvo, 1988.

Leiberov, Igor,’ and Zinaida Peregudova. Podvig Nune: Dokumental’naia povest’ o N.F. Agadzhanovoi. Leningrad: Lenizdat, 1985.

Leigh, Michele. “Reading between the Lines: History and the Studio Owner’s Wife.” In Christine Gledhill and Julia Knight eds.,Doing Women’s Film History. Reframing Cinemas, Past and Future. Urbana, IL: University of Illinois Press, 2015. 29-41.

Leyda, Jay. Kino: A History of the Russian and Soviet Film. 3rd ed. Princeton, NJ.: Princeton UP, 1982

Michelson, Annette. “What is Cinema” Performing Arts Journal 17 : 2-3 (May-Sept. 1994): 20-29.

Nezhnyi, Igor’. Byloe pered glazami: Teatra’nye vospominaniia. Moscow: VTO, 1963. 

Nichols, Bill. “Documentary Film and the Modernist Avant-Garde.” Critical Inquiry 27. 4 (Summer, 2001): 580-610.

Olenina, Ana. “Engineering Performance: Lev Kuleshov, Soviet Reflexology, and Labor Efficiency Studies.” Discourse: Journal for Theoretical Studies in Media and Culture 35:3 (2013): 297-336.

Piispa, Lauri. “Asta Nielsen and the Russian Film Trade.” In Martin Loiperdinger and Uli Jung, eds. Importing Asta Nielsen: The International Film Star in the Making, 1910-1914. Bloomington, IN: Indiana University Press, 2013. 247-258.

Rakhmanova, Ol’ga. “B.V.Chaikovskii.” Kino-nedelia 42 (18 November 1924): 7.

Ryabchikova, Natal’ia. “S”emochnaia ploshchadka: ‘Proletkino’.” Kinovedcheskie zapiski 92/93 (2010): 388–405.

Roberts, Graham. “Esfir Shub: a Suitable Case for Treatment.” Historical Journal of Film Radio and Television 2 (1991): 149-159.

——. “The Great Way.” History Today 11 (1997): 39-44.

Shklovsky, Viktor. “Ob Esfiri Shub i eio kinematograficheskom opyte.” Iskusstvo kino(May 1969).Istoriia sovetskogo kino: tom 1, 1917-1931. Moscow: Iskusstvo, 1969. 505-511.

Stollery, Martin. “Eisenstein, Shub and the Gender of the Author as Producer.” Film History 14.1 (2002): 87-99.

Tsivian, Yuri. “Notes historiques en marge de l’expérience de Koulechov.” L’Effet Koulechov/The Kuleshov Effect. Iris 4.1 (1986): 49-60.

Tsivian, Yuri, Ekaterina Khokhlova, and Kristin Thompson. “The Rediscovery of a Kuleshov Experiment: a Dossier.” Film History. 8.3 (1996): 357-367.

Turvey, Malcolm. The Filming of Modern Lige: European Avant-Garde Film of the 1920s. Cambridge: MIT Press, 2011.

Vii, E. “‘Bazar pokhoti’ (Beseda s rezhisserom V.I. Inkizhinovym).” Kino 20 (4 August 1925): 2. 

Waugh, Thomas, ed. Show Us Life: Toward a History of Aesthetics of the Committed Documentary. New York: Scarecrow, 1984.

Yampolsky, Mikhail. “Reality at Second Hand.” Historical Journal of Film, Radio, and Televison 11.2 (1991): 161-171.

Yampolsky, Mikhail. “Kuleshov’s Experiments and the New Anthropology of the Actor”. In Richard Taylor and Ian Christie, eds. Inside the Film Factory: New Approaches to Russian and Soviet Cinema. London and New York: Routledge, 1991. 31-50

SPAIN:

Del Carmen Rodríguez Fernández, María. Directoras de cine a ambos lados del Atlántico / Film Directors on Both Sides of the Atlantic. Oviedo, 2012

Del Carmen Rodríguez Fernández, María and Eduardo Viñuela Suárez. edsDiccionario crítico de directoras de cine europeas / Critical Dictionary of European Filmmakers. Madrid: Cátedra, 2011.

Favá, Mª Luisa. 50 mujeres de nuestro tiempo. Barcelona: Editorial de Diáfona, 1975.

Montero, Julio and María Antonia Paz. “’Celebrada artista de fama mundial’. Asta Nielsen in Barcelona, 1910–1914.” In Martin Loiperdinger and Uli Jung, eds. Importing Asta Nielsen: The International Film Star in the Making, 1910-1914. Bloomington, IN: Indiana University Press, 2013. 187-202.

Morales, María Luz. Edison. 3rd ed. Barcelona: Seix Barral, 1947.

——. El Cine: historia ilustrada del séptimo arte. Barcelona: Salvat, 1950.

——. “Frente a nosotras y junto a nosotras. Heroínas, mujeres, cine y moda.” In Lectora: revista de dones i textualitat 18 (2012): 277-298. 

——. “La mujer y la pantalla.” Arte y Cinematografía vol. 300, no. 17 (January 1926): n.p.

——. Vida de Edison. Barcelona: Seix Barral, 1934.

Rodrigo, Antonina. Mujeres para la historia. La España silenciada del siglo XX. Madrid: Compañía Literaria, 1996.

Servén Díez, Carmen. “María Luz Morales y la promoción de la lectura infantil.” Álabe 5 (17 June 2012): 1-17.

SWEDEN:

Bachmann, Anne. “Vindicating The Great Moment against Swedish censorship. Asta Nielsen’s Soulful Eyes as On-Screen Pantomime.” In Martin Loiperdinger and Uli Jung, eds. Importing Asta Nielsen: The International Film Star in the Making, 1910-1914. Bloomington, IN: Indiana University Press, 2013. 215-234.

Boëthius, Ulf. När Nick Carter drevs på flykten: Kampen mot ‘smutsliteraturen’ i Sverige 1908–1909. Stockholm: Gidlunds, 1989.

Björkin, Mats. Amerikanism, Bolsjevism Och Korta Kjolar: Filmen Och Dess Publik I Sverige under 1920-talet. Stockholm: Aura Förlag, 1998.

Dahlquist, Marina. “‘The Best-Known Woman in the World’: Pearl White and the American Serial Film in Sweden.” In Marina Dahlquist, ed., Exporting Perilous Pauline: Pearl White and Serial Film Craze. Bloomington: University of Illinois Press, 2013. 46-70.

Florin, Bo. Den nationella stilen: Studier i den svenska filmens guldålder. Stockholm: Aura Förlag, 1997.

“Föreningen Filmia.” Dagens Nyheter (10 April 1943): 6. (Greta Håkansson).

Forsman, Johanna and Kjell Sundtstedt. “Sweden.” In Women Screenwriters: An International Guide. Eds. Jill Nelmes and Jule Selbo. Basingstoke: Palgrave Macmillan, 2015. 550-577.

“Greta Håkansson.” Musikern (December 1928): 336-337. 

Lagercrantz, Marika V. “En oavsluten berättelse. Om varietéstjärnan Anna Hofmann.” In Reflektioner i Erlind Bjurströms anda. Eds. Johan Fornäs and Tobias Hardling. Linköping: Linköping University Electronic Press, 2009. 186-192.

Olsson, Jan.“‘Dear Miss Gagner!’ – A Star and Her Methods.” In Tytti Soila, ed. Stellar Encounters: Stardom in Popular European Cinema. New Barnet: John Libbey Publishing, 2009. 217-29.

——. “I offentlighetens ljus—några notiser om fimstoff i dagspressen.” In Jan Olsson, ed. I offentlighetens ljus: Stumfilmens affischer, kritiker, stjärnor och musik. Stockholm/Stehag: Symposion, 1990. 211-272.

——.“National Soul/Cosmopolitan Skin: Swedish Cinema at a Crossroads.” In Jennifer M. Bean, Anupama Kapse, and Laura Horak eds., Silent Cinema and the Politics of Space. Bloomington and Indianapolis: Indiana University Press, 2014. 245-69. 

——. Sensationer från en bakgård. Stockholm/Lund: Symposion, 1988.

——. “Svart på vitt: film, makt och censur.” Aura. Filmvetenskapig tidskrift 1.1 (1995): 14-46.

Waldekranz, Rune. “Anna Hofman-Uddgren: Sveriges första kvinnliga filmregissör.” Chaplin 25:3 (1983): 117-121.

SWITZERLAND:

Gerber, Adrian. “Advertising Asta Nielsen. Traces of Local Trade Rivalry in Zurich and Transnational Circulation.” In Martin Loiperdinger and Uli Jung, eds. Importing Asta Nielsen: The International Film Star in the Making, 1910-1914. Bloomington, IN: Indiana University Press, 2013. 163-169.

Jacques, Pierre-Emmanuel. “Asta Nielsen in the Cinema Theatres of Lausanne, 1911–1913.” In Martin Loiperdinger and Uli Jung, eds. Importing Asta Nielsen: The International Film Star in the Making, 1910-1914. Bloomington, IN: Indiana University Press, 2013. 169-178.

Lento, Mattia. “Asta Nielsen in Zurich. Film Exhibition and Reviews.” In Martin Loiperdinger and Uli Jung, eds. Importing Asta Nielsen: The International Film Star in the Making, 1910-1914. Bloomington, IN: Indiana University Press, 2013. 153-162.