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"Nordic Explorations: Film Before 1930" includes twenty previously unpublished essays written for the 1999 retrospective of Nordic cinema at la Giornate del Cinema Muto in Italy. It brings together leading research on early cinema in Denmark, Finland, Norway and Sweden, and includes essays on some of the major figures in Nordic cinema including Dreyer, Christensen, Sjostrom and Stiller. Much current research in Nordic film before 1930 is also represented in this anthology with studies of the Norwegian travel genre, Nordic animated film, the relation of Nordic cinema to German and Russian film, the development of educational cinema and industrial film, as well as studies of individual films, filmmakers and national styles, and the relation of the medium to other forms of popular entertainment.The essays make a timely contribution to the more general study of cinema, afford authoritative and stimulating insight into research in the field and challenge many assumptions regarding Nordic cinema before 1930.

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In 1888, Thomas Edison announced that he was experimenting on "an instrument which does for the eye what the phonograph does for the ear, which is the recording and reproduction of things in motion." Just as Edison's investigations were framed in terms of the known technologies of the phonograph and the microscope, the essays in this collection address the contexts of innovation and reception that have framed the development of moving images in the last 100 years. Three concerns are of particular interest: the contexts of innovation and reception for moving image technologies; the role of the observer, whose vision and cognitive processes define some of the limits of inquiry and epistemological insight; and the role of new media, which, engaging with the domestic sphere as cultural interface, are transforming our understanding of public and private spheres.The 17 previously unpublished essays in Moving Images represent the best of current research in the history of this field. They make a timely and stimulating contribution to debates concerning the impact of new media on the history of cinema.Contributors include: William Boddy, Carlos Bustamante, Warren Buckland, Valeria Camporesi, Bent Fausing, Oliver Gaycken, Alison Griffiths, Christopher Hales, Jan Holmberg, Solveig Jülich, Frank Kessler, Jay Moman, Sheila C. Murphy, Pelle Snickars, Paul C. Spehr, Björn Thuresson, and Åke Walldius.

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Cartoons—both from the classic Hollywood era and from more contemporary feature films and television series—offer a rich field for detailed investigation and analysis. Contributors draw on theories and methodology from film, television, and media studies, art history and criticism, and feminism and gender studies.

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The profusion of research on film history means that there are now few Hollywood filmmakers in the category of Neglected Master; John M Stahl (1886–1950) has been stuck in it for far too long. His strong association with melodrama and the womans film is a key to this neglect; those mainstays of popular cinema are no longer the object of critical scorn or indifference, but Stahl has until now hardly benefited from this welcome change in attitude. His remarkable silent melodramas were either lost, or buried in archives, while his major sound films such as Imitation of Life and Magnificent Obsession, equally successful in their time, have been overshadowed by the glamour of the 1950s remakes by Douglas Sirk. Sirk is a far from neglected figure; Stahls much longer Hollywood career deserves attention and celebration in its own right, as this book definitively shows. Drawing on a wide range of film and document archives, scholars from three continents come together to cover Stahls work, as director and also producer, from its beginnings during World War I to his death, as a still active filmmaker, in 1950. Between them they make a strong case for Stahl as an important figure in cinema history, and as author of many films that still have the power to move their audiences.

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