"Number nine in a series of monographs on pre-cinema and early film."

This magisterial book offers comprehensive accounts of the professional itineraries of three women in the silent film in the Netherlands, France and North America. Annette Förster presents a careful assessment of the long career of Dutch stage and film actress Adriënne Solser; an exploration of the stage and screen careers of French actress and filmmaker Musidora and Canadian-born actress and filmmaker Nell Shipman; an analysis of the interaction between the popular stage and the silent cinema from the perspective of women at work in both realms; fresh insights into Dutch stage and screen comedy, the French revue and the American Northwest drama of the 1910s; and much more, all grounded in a wealth of archival research.

Revolutions in Communication offers a new approach to media history, presenting an encyclopedic look at the way technological change has linked social and ideological communities. Using key figures in history to benchmark the chronology of technical innovation, Kovarik's exhaustive scholarship narrates the story of revolutions in printing, electronic communication and digital information, while drawing parallels between the past and present. Updated to reflect new research that has surfaced these past few years, Revolutions in Communication continues to provide students and teachers with the most readable history of communications, while including enough international perspective to get the most accurate sense of the field. The supplemental reading materials on the companion website include slideshows, podcasts and video demonstration plans in order to facilitate further reading.

Since its maiden voyage and sinking in April 1912, Titanic has become a monumental icon of the 20th century and has inspired a wealth of interpretations across literature, art and media. This book offers a comprehensive discussion of the diverse representations of the connections and differences in the way generations of artists and audiences have approached and used the tragedy. In the final section is an in-depth study of James Cameron's blockbuster film "Titanic".

German film in the Wilhelmine and Weimar periods is regarded as marked by a strong sense of cultural conservatism and the aspiration to be recognized as an art form. This book takes an alternative approach to the history of German cinema from the emergence of the early feature film to the transition to sound by focusing on the poetics of popular genres such as the disaster film, melodrama, the musical and the war film, exploring their cultural reverberations and modes of audience address. Based on the assumption that popular cinema contributed immensely to the breakthrough of a modern audiovisual "culture of the senses" in Germany between 1910 and 1930, Pictorial Affects, Senses of Rupture offers close readings of a number of rarely analyzed films, including one of the first cinematic adaptations of the Titanic disaster from 1912 and the German version of All Quiet on the Western Front from 1930. Restoring the films' horizons of historicity by locating them at crucial points of intersection between social, cultural, technological and aesthetic discourses, this book argues for the prominent role popular German cinema’s own forms of discursivity have played within the historical formation of modernity.

In Lost Films, Frank Thompson examines twenty-seven classic movies made between 1911 and the end of the silent era, including such works of genius as Ernst Lubitsch's The Patriot, Raoul Walsh's The Conquerer, Victor Seastrom's Garbo vehicle The Divine Woman, and F.W. Murnau's Four Devils.

Theatre Across Oceans: Mediators Of Transatlantic Exchange allows the reader to enter and understand the infrastructural 'backstage area' of global cultural mobility during the years between 1890 and 1925. Located within the research fields of global history and theory, the geographical focus of the book is a transatlantic one, based on the active exchange in this phase between North and South America and Europe. Emanating from a rich body of archival material, the study argues that this exchange was essentially facilitated and controlled by professional theatrical mediators (agents, brokers), who have not been sufficiently researched within theatre or historical studies. The low visibility of mediators in the scientific research is in diametrical contrast to the enormous power that they possessed in the period dealt with in this book.