David Bordwell, Janet Staiger, and Kristin Thompson
And we did it all on note cards and typewriters.
Museums provided some of the earliest alternatives to thestandard accounts of Hollywood’s history, as when Richard Koszarski programmedfilms by then little-known directors like Maurice Tourneur, Benjamin Christensen,and Reginald Barker.
Filming Raffles (Goldwyn, 1930).
In those days, Robert C. Allen’s dissertation Vaudeville and Film 1895–1915:A Study in Media Interaction (finished 1977, published 1980) wasour primary source for the fledgling cinema’s relationship to vaudeville,and Nicholas Vardac’s Stage to Screen our source for its relationshipto live theater.
The power of art essays – sanczanstandrekychojusiruterba
:See our FilmHistory: An Introduction, as well as Kristin’s study of German cinemaafter World War I in Herr Lubitsch Goes to Hollywood: German and AmericanFilm after World War I (Amsterdam: Amsterdam University Press, 2006) andDavid’s work on the 1910s’ tableau style in On the History ofFilm Style (Cambridge, MA: Harvard University Press, 1998) and FiguresTraced in Light (Berkeley: University of California Press, 2005).
The power of art essays | vacamandipofullocorjutesi
: There is, forexample, F. M. Scherer’s Quarter Notes and Bank Notes: The Economicsof Music Composition in the Eighteenth and Nineteenth Centuries (Princeton:Princeton University Press, 2004) and Lorenzo Bianconi and Giorgio Pestelli’santhology Opera Production and Its Resources, vol. 4 of The History of ItalianOpera (Chicago: University of Chicago Press, 1998). One of the livelieststudies in this vein is Ken Emerson’s Always Magic in the Air: TheBomp and Brilliance of the Brill Building Era (Viking, 2005), which showshow a pop-music company could develop its own forms, genres, and division oflabor.