Pub Date : 2024-01-10DOI: 10.1080/01439685.2023.2296233
Sarah Arnold, Carolann Madden
This article aims to identify various ways in which women’s amateur filmmaking becomes obscured in both film archives and in the academic scholarship on film and filmmaking. Recognising that amateu...
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Pub Date : 2023-12-22DOI: 10.1080/01439685.2023.2296204
Claire Dutriaux
Despite the advent of the Production Code in 1930/1934, which was supposed to empty local censorship boards of their substance, they continued to act, particularly in the Jim Crow South. The Southe...
{"title":"Southern Censorship against Hollywood in Better Films Committees and Local Censorship Boards: Film Control as a Woman’s Political Weapon","authors":"Claire Dutriaux","doi":"10.1080/01439685.2023.2296204","DOIUrl":"https://doi.org/10.1080/01439685.2023.2296204","url":null,"abstract":"Despite the advent of the Production Code in 1930/1934, which was supposed to empty local censorship boards of their substance, they continued to act, particularly in the Jim Crow South. The Southe...","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":"54 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139026769","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-21DOI: 10.1080/01439685.2023.2296215
Graham Smyth
While many will be familiar with the British traitor William Joyce who, as Lord Haw-Haw, became infamous for his radio broadcasts to Britain on behalf of Nazi Germany during the Second World War, m...
{"title":"Nazi ‘black’ Propaganda to Britain: Secret Radio Stations and British Renegades","authors":"Graham Smyth","doi":"10.1080/01439685.2023.2296215","DOIUrl":"https://doi.org/10.1080/01439685.2023.2296215","url":null,"abstract":"While many will be familiar with the British traitor William Joyce who, as Lord Haw-Haw, became infamous for his radio broadcasts to Britain on behalf of Nazi Germany during the Second World War, m...","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":"41 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139026849","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-22DOI: 10.1080/01439685.2023.2268476
Marija Weste
Click to increase image sizeClick to decrease image size Notes1 D. Shewman. ‘Review: Short Cuts: Introduction to Film Studies’, Variety, March 6, 2002, https://variety.com/2002/more/reviews/short-cuts-introduction-to-film-studies-1200550834/ (last accessed 07 October, 2023).2 M. Sorrento. ‘Review: No Escape – Fate in Film: A Deterministic Approach to Cinema’, Filmint.nu, December 15, 2022, http://filmint.nu/fate-in-film-a-deterministic-approach-to-cinema-book-review-david-szoke/ (last accessed 07 October, 2023).
{"title":"Fate in Film: A Deterministic Approach to Cinema <b>Fate in Film: A Deterministic Approach to Cinema</b> THOMAS M. PUHR, 2022New York, Wallflower Press (an imprint of Columbia University Press)168 pp., illustrations, indexes of names and film titles, $20.00 (paperback), ISBN: 9780231203913","authors":"Marija Weste","doi":"10.1080/01439685.2023.2268476","DOIUrl":"https://doi.org/10.1080/01439685.2023.2268476","url":null,"abstract":"Click to increase image sizeClick to decrease image size Notes1 D. Shewman. ‘Review: Short Cuts: Introduction to Film Studies’, Variety, March 6, 2002, https://variety.com/2002/more/reviews/short-cuts-introduction-to-film-studies-1200550834/ (last accessed 07 October, 2023).2 M. Sorrento. ‘Review: No Escape – Fate in Film: A Deterministic Approach to Cinema’, Filmint.nu, December 15, 2022, http://filmint.nu/fate-in-film-a-deterministic-approach-to-cinema-book-review-david-szoke/ (last accessed 07 October, 2023).","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135462788","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-17DOI: 10.1080/01439685.2023.2268918
James Chapman
Click to increase image sizeClick to decrease image size Notes1 See John Russell Taylor, Hitch: The Life and Work of Alfred Hitchcock (London: Faber and Faber, 1978), 115–16; Donald Spoto, Dark Side of Genius: The Life of Alfred Hitchcock (London: Fredrick Muller, 1983), 129–30; and Patrick McGilligan, Alfred Hitchcock: A Life in Darkness and Light (Chichester: John Wiley & Sons, 2003), 146–8.2 François Truffaut, with Helen G. Scott, Hitchcock (London: Paladin, 1986), 102.3 Rodney Ackland, The Celluloid Mistress: or The Custard Pie of Dr Caligari (London: Allan Wingate, 1954), 36.4 ‘British International Pictures, Limited’, The Economist, 25 August 1930, 378.5 Rachael Low, The History of the British Film 1929-1939: Film-Making in 1930s Britain (London: George Allen & Unwin, 1985), 116–17.6 John Sedgwick, ‘Michael Balcon’s Close Encounter with the American Market, 1934-36’, Historical Journal of Film, Radio and Television, 16, no. 3 (1996): 333–48.7 Raymond Durgnat, The Strange Case of Alfred Hitchcock; or The Plain Man’s Hitchcock (London: Faber and Faber, 1974), 120.8 Tom Ryall, Alfred Hitchcock and the British Cinema (London: Croom Helm, 1986), 101.9 Gene D. Phillips, Alfred Hitchcock (London: Columbus Books, 1986), 67.10 Steve Chibnall, Quota Quickies: The Birth of the British ‘B’ Film (London: British Film Institute, 2007), xii–xiii.11 For the contexts of the Quota Act, see Rachael Low, The History of the British Film 1918-1929 (London: George Allen & Unwin, 1971), 71–106; Margaret Dickinson and Sarah Street, Cinema and State: The Film Industry and the British Government, 1927-84 (London: British Film Institute, 1985), 5–33; and Chibnall, Quota Quickies, 1–17.12 Political and Economic Planning, The British Film Industry: A report on its history and present organisation, with special reference to the economic problems of British feature film production (London: Political and Economic Planning, 1952), 50.13 Truffaut, Hitchcock, 104.14 The ledger is referenced in Linda Wood, ‘Low-Budget Production: Twickenham Film Studios, 1927-1938’ (unpublished MPhil thesis, Polytechnic of Central London, 1989).15 The National Archives (TNA) BT 64/97: Particulars of British Films Acquired by Renters during Quota Year 1932-33. The ledger actually includes 159 films but one of those – Till the Bells Ring (1933) produced by British Sound Film Productions for independent distributor A. L. Bayley – has no cost data. The ledger includes Old Spanish Customers (1932) under MGM though in fact it was released by Wardour Films.16 This includes one film (Verdict of the Sea) where the production company is listed as Regina Film Productions: this film was shot at Elstree Studios with some overseas locations, and was to all intents and purposes a BIP film.17 Simon Rowson, ‘A Statistical Survey of the Cinema Industry in Great Britain in 1934’, Journal of the Royal Statistical Society 99, no. 1 (1936): 111.18 The average for the British & Dominions Film Corporation needs to be
{"title":"Hitchcock’s <i>Number Seventeen</i> (1932) and the British Film Quota","authors":"James Chapman","doi":"10.1080/01439685.2023.2268918","DOIUrl":"https://doi.org/10.1080/01439685.2023.2268918","url":null,"abstract":"Click to increase image sizeClick to decrease image size Notes1 See John Russell Taylor, Hitch: The Life and Work of Alfred Hitchcock (London: Faber and Faber, 1978), 115–16; Donald Spoto, Dark Side of Genius: The Life of Alfred Hitchcock (London: Fredrick Muller, 1983), 129–30; and Patrick McGilligan, Alfred Hitchcock: A Life in Darkness and Light (Chichester: John Wiley & Sons, 2003), 146–8.2 François Truffaut, with Helen G. Scott, Hitchcock (London: Paladin, 1986), 102.3 Rodney Ackland, The Celluloid Mistress: or The Custard Pie of Dr Caligari (London: Allan Wingate, 1954), 36.4 ‘British International Pictures, Limited’, The Economist, 25 August 1930, 378.5 Rachael Low, The History of the British Film 1929-1939: Film-Making in 1930s Britain (London: George Allen & Unwin, 1985), 116–17.6 John Sedgwick, ‘Michael Balcon’s Close Encounter with the American Market, 1934-36’, Historical Journal of Film, Radio and Television, 16, no. 3 (1996): 333–48.7 Raymond Durgnat, The Strange Case of Alfred Hitchcock; or The Plain Man’s Hitchcock (London: Faber and Faber, 1974), 120.8 Tom Ryall, Alfred Hitchcock and the British Cinema (London: Croom Helm, 1986), 101.9 Gene D. Phillips, Alfred Hitchcock (London: Columbus Books, 1986), 67.10 Steve Chibnall, Quota Quickies: The Birth of the British ‘B’ Film (London: British Film Institute, 2007), xii–xiii.11 For the contexts of the Quota Act, see Rachael Low, The History of the British Film 1918-1929 (London: George Allen & Unwin, 1971), 71–106; Margaret Dickinson and Sarah Street, Cinema and State: The Film Industry and the British Government, 1927-84 (London: British Film Institute, 1985), 5–33; and Chibnall, Quota Quickies, 1–17.12 Political and Economic Planning, The British Film Industry: A report on its history and present organisation, with special reference to the economic problems of British feature film production (London: Political and Economic Planning, 1952), 50.13 Truffaut, Hitchcock, 104.14 The ledger is referenced in Linda Wood, ‘Low-Budget Production: Twickenham Film Studios, 1927-1938’ (unpublished MPhil thesis, Polytechnic of Central London, 1989).15 The National Archives (TNA) BT 64/97: Particulars of British Films Acquired by Renters during Quota Year 1932-33. The ledger actually includes 159 films but one of those – Till the Bells Ring (1933) produced by British Sound Film Productions for independent distributor A. L. Bayley – has no cost data. The ledger includes Old Spanish Customers (1932) under MGM though in fact it was released by Wardour Films.16 This includes one film (Verdict of the Sea) where the production company is listed as Regina Film Productions: this film was shot at Elstree Studios with some overseas locations, and was to all intents and purposes a BIP film.17 Simon Rowson, ‘A Statistical Survey of the Cinema Industry in Great Britain in 1934’, Journal of the Royal Statistical Society 99, no. 1 (1936): 111.18 The average for the British & Dominions Film Corporation needs to be","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136034540","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-15DOI: 10.1080/01439685.2023.2262267
Mélisande Leventopoulos, Özge Özyilmaz
{"title":"Exploring Cinema Memory <b>Exploring Cinema Memory</b> ANNETTE KUHN, 2023Glasgow, Argyll Publishing pp. 133, bibliography, index, £15","authors":"Mélisande Leventopoulos, Özge Özyilmaz","doi":"10.1080/01439685.2023.2262267","DOIUrl":"https://doi.org/10.1080/01439685.2023.2262267","url":null,"abstract":"","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135758798","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-11DOI: 10.1080/01439685.2023.2262274
Robert Gordon Joseph
"Decline and Reimagination in Cinematic New York." Historical Journal of Film, Radio and Television, ahead-of-print(ahead-of-print), pp. 1–2
“纽约电影界的衰落与再想象”《电影广播电视史刊》，印前，第1-2页
{"title":"Decline and Reimagination in Cinematic New York <b>Decline and Reimagination in Cinematic New York</b> CORTLAND RANKIN, 2023London and New York, Routledgepp. viii + 248, illus., filmography, and index, $170 (cloth), $47.65 (eBook)","authors":"Robert Gordon Joseph","doi":"10.1080/01439685.2023.2262274","DOIUrl":"https://doi.org/10.1080/01439685.2023.2262274","url":null,"abstract":"\"Decline and Reimagination in Cinematic New York.\" Historical Journal of Film, Radio and Television, ahead-of-print(ahead-of-print), pp. 1–2","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136210482","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-11DOI: 10.1080/01439685.2023.2262261
James Fenwick
{"title":"How Documentaries Work <b>How Documentaries Work</b> JACOB BRICCA, 2023Oxford, Oxford University Press pp. 232, 100 b&w illus., £12.99 (paperback) <b>A New History of Documentary Film</b> BETSY A. MCLANE, 20233rd ed., pp. 464, 110 b&w illus., £24.99 (paperback)","authors":"James Fenwick","doi":"10.1080/01439685.2023.2262261","DOIUrl":"https://doi.org/10.1080/01439685.2023.2262261","url":null,"abstract":"","PeriodicalId":44618,"journal":{"name":"HISTORICAL JOURNAL OF FILM RADIO AND TELEVISION","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136210361","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-10DOI: 10.1080/01439685.2023.2262240
Igor Krstic
"All the President’s Men." Historical Journal of Film, Radio and Television, ahead-of-print(ahead-of-print), pp. 1–2
“总统的手下”。《电影广播电视史刊》，印前，第1-2页
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Pub Date : 2023-10-08DOI: 10.1080/01439685.2023.2262254
Stephen Bottomore
Click to increase image sizeClick to decrease image size Notes1 Stephen Bottomore, ‘‘The Great Favorite, Miss Asta Nielsen’: Asta Nielsen on Australasian Screens’, in Importing Asta Nielsen: The International Film Star in the Making, 1910-1914, ed. Martin Loiperdinger and Uli Jung (Eastleigh: John Libbey & Company, 2013), 308–20.2 The soon-to-be megastar, Charlie Chaplin, receives only 31 hits, purely because he only started appearing in films in 1914; and fellow megastar Mary Pickford (194 hits) only made a big impact from around 1913.3 Some information about this group: Florence Turner was a major film star who worked in Britain as well as America. Max Linder is hailed as the first film star in a recent study (Andrew Shail, The Origins of the Film Star System: Persona, Publicity and Economics in Early Cinema (London: Bloomsbury Publishing, 2019). Maurice Costello may have been the first star to appear in films (from 1906, says MacCann, 1992), and a contemporary guide (B. M. Wood, Who's Who in the Motion Picture World (New York: Who's Who in Pictures Publishing Co., c1915, p. 50) states that he was ‘the first internationally famous motion picture star’, that he pioneered the modern style of film acting and directed all his own films. He won a film star popularity contest in 1912. John Bunny was the most-mentioned film star in the pre-war period, and was making nearly a film a week by the summer of 1913. All these except Linder have been rather overlooked by historians/biographers: there is no book devoted to Turner, only a self-published one on Bunny (2017), and only a family biography (2019) for Costello: Kevin Scott Collier, Funny Bunny: Film Comedian John Bunny (Scotts Valley, CA: CreateSpace, 2017); Terry Chester Shulman, Film's First Family : The Untold Story of the Costellos (Lexington: University Press of Kentucky, 2019).4 And indeed begs a more general question of how and why historians choose their subjects to study.5 Steve Massa, Rediscovering Roscoe : The Films of "Fatty" Arbuckle (Orlando, FL: BearManor Media, 2019); Anthony Slide, ‘Early Women Filmmakers: The Real Numbers’, Film History 24, no. 1 (March 2012): 114–21.6 Given this project model and the relative neglect of the three above-mentioned film stars, perhaps one could propose a ‘Vitagraph performers project’?7 See https://wfpp.columbia.edu/essay/shaping-the-craft-of-screenwriting-women-screen-writers-in-silent-era-hollywood/ and https://wfpp.columbia.edu/2023/01/07/afi-catalog-launches-wtta-website/8 Ann Martin, Virginia M. Clark and Maria Schlesinger, What Women Wrote: Scenarios, 1912–1929 (Frederick, MD: University Publications of America, 1987) [microform].9 https://aficatalog.afi.com/wtta/10 Anthony Slide, ‘Early Women Filmmakers: The Real Numbers’, Film History 24, no. 1 (March 2012): 114-121.11 Establishing such figures for women’s authorship is an inexact science, as Slide explained in his article, and there are many works where the author is unknown, where the Christ
注1 Stephen Bottomore，“最受欢迎的亚洲尼尔森小姐:澳大利亚银幕上的亚洲尼尔森”，《进口亚洲尼尔森:国际电影明星，1910-1914》，Martin Loiperdinger和Uli Jung编辑(Eastleigh: John Libbey & Company, 2013)， 306 - 20.2即将成为超级巨星的Charlie Chaplin，只获得31次点击，纯粹是因为他在1914年才开始出现在电影中;而另一位超级巨星玛丽·皮克福德(194次成功)在1913年左右才产生了很大的影响。关于这一群体的一些信息:弗洛伦斯·特纳是一位在英国和美国工作的主要电影明星。在最近的一项研究中，马克斯·林德被誉为第一位电影明星(安德鲁·希尔，《电影明星系统的起源:早期电影中的人物形象、宣传和经济学》(伦敦:布卢姆斯伯里出版社，2019)。莫里斯·科斯特洛可能是第一个出现在电影中的明星(从1906年开始，MacCann说，1992年)，当代指南(B. M. Wood, Who's Who in the Motion Picture World(纽约:Who's Who in Pictures Publishing Co.， c1915年，第50页)指出，他是“第一个国际著名的电影明星”，他开创了现代电影表演风格，并执导了所有自己的电影。1912年，他赢得了一场电影明星人气比赛。约翰·邦尼是战前最受关注的电影明星，到1913年夏天，他几乎每周都要拍一部电影。除了林德之外，所有这些人都被历史学家/传记作家忽视了:没有一本关于特纳的书，只有一本关于邦尼的书(2017年)，只有一本关于科斯特洛的家庭传记(2019年):凯文·斯科特·科利尔，《有趣的邦尼:电影喜剧演员约翰·邦尼》(加利福尼亚州斯科特谷:CreateSpace, 2017年);3 .《电影的第一家庭:科斯特洛一家不为人知的故事》(列克星敦:肯塔基大学出版社，2019年)这实际上引出了一个更普遍的问题，即历史学家如何以及为什么选择他们的研究对象史蒂夫·马萨，《重新发现罗斯科:“胖子”阿巴克尔的电影》(佛罗里达州奥兰多:BearManor Media, 2019);安东尼·斯莱德，“早期女性电影人:真实数字”，《电影史》第24期，no。1(2012年3月):114-21.6鉴于这个项目模式和上述三位电影明星的相对忽视，也许有人可以提出一个“Vitagraph表演者项目”?7参见https://wfpp.columbia.edu/essay/shaping-the-craft-of-screenwriting-women-screen-writers-in-silent-era-hollywood/和https://wfpp.columbia.edu/2023/01/07/afi-catalog-launches-wtta-website/8安·马丁，弗吉尼亚·m·克拉克和玛丽亚·施莱辛格，《女性所写:场景，1912-1929》(弗雷德里克，医学博士:美国大学出版社，1987年)[缩微版]。9 https://aficatalog.afi.com/wtta/10安东尼·斯莱德，“早期女性电影人:真实数字”，电影历史24,no。1(2012年3月):正如斯莱德在他的文章中所解释的那样，确定女性作者的这些数字是一门不精确的科学，而且有许多作品的作者是未知的，其中的教名只有首字母，或者有多个男女作者。等https://devaficalmjediwestussa.blob.core.windows.net/images/sites/3/2023/01/AFI-Women_Gaines.pdf12我还注意到，1913年1月和3月的Vitagraph生活肖像将弗洛伦斯·特纳列为编剧，这一角色在世界粮食计划署的条目中有所暗示。13人们可以在默片电影中活跃的人的名单上列出大量没有实质性传记的人。在我调查的摄影师中，我想到了约瑟夫·罗森塔尔、约翰·麦肯齐和埃米尔·劳斯特。在其他领域，他们的名字不胜枚举，包括剧作家马克·埃德蒙·琼斯和蒙特·卡特约翰;Paul E. Glase，参展商和收藏家;贺拉斯·普林顿，制片人。这些只是一些来自英语世界的国家。事实上，提及这几个名字几乎是没有意义的，因为还有很多其他的名字，而这项工作最好是系统地解决，也许是通过一个项目。幸运的是，美国无声时代的成就者(男性和女性)已经以安妮特·达戈斯蒂诺(Annette d’agostino)的《电影世界中的电影人》(电影人)的形式被列了出来，它的选择是基于对当代价值的评估(尽管它省略了放映商)。接下来需要的是组织一个项目，在这些裸露的(男性和女性)骨骼上添加传记血肉的意愿。安妮特·达戈斯蒂诺，电影世界中的电影制作人，文章索引，1907-1927(杰斐逊，北卡罗来纳州:麦克法兰出版社，1997).14David Bordwell, Janet Staiger和Kristin Thompson，《经典好莱坞电影:1960年的电影风格和制作模式》(伦敦:Routledge;哥伦比亚大学出版社，1985)。巴里·绍特(Barry Salt)的《电影风格与技术:历史与分析》(伦敦:Starword出版社，1983年[及以后的版本])采用了另一种研究电影风格的方法。还要注意Salt的ASL方法，由Yuri Tsivian进一步发展为“电影计量学”。
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