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The "messinessof film history, as demonstrated here, opens a new realm of inquiry into unexpected political, social, and aesthetic crossings of silent cinema.
List of contents
Introduction / Jennifer M. Bean
Part I. Picturing Space
Introduction / Anupama Kapse
1. Location, "Location": On the Plausibility of Place Substitution / Mark B. Sandberg
2. Insurgent Place as Visual Space: Location Shots and Rival Geographies of 1857 Lucknow / Priya Jaikumar,
Part II. Prints in Motion
Introduction / Jennifer M. Bean
3. Robespierre Has Been Lost: D. W. Griffith's Movies and the Soviet Twenties / Yuri Tsivian
4. An Afterlife for Junk Prints: Serials and Other "Classics" in Late-1920s Tehran / Kaveh Askari
5. Translations and Transportation: Toward a Transnational History of the Intertitle / Laura Isabel Serna
Part III: Impertinent Appropriations
Introduction / Anupama Kapse
6. From "Misemono" to
Zigomar: A Discursive History of Early Japanese Cinema / Aaron Gerow
7. The Crisscrossed Stare: Chinese Protest and Propaganda in the Not-So-Silent Era / Yiman Wang
8. Around the World in 80 Minutes: Douglas Fairbanks and the Indian Stunt Film / Anupama Kapse
Part IV: Cosmopolitan Sexualities and Female Stars
Introduction / Jennifer M. Bean
9. National Soul/Cosmopolitan Skin: Swedish Cinema at a Crossroads / Jan Olsson
10. Queer Crossings: Greta Garbo, National Identity, and Gender Deviance / Laura Horak
11. Cosmopolitan Women: Marlene Dietrich, Anna May Wong, and Leni Riefenstahl / Patrice Petro
Notes
Bibliography
Contributors
About the author
Jennifer M. Bean is Director of Cinema and Media Studies and Associate Chair of Comparative Literature at the University of Washington. She is co-editor of
Flickers of Desire: Movie Stars of the 1910s.Anupama Kapse is Assistant Professor in the Department of Media Studies, Queens College, CUNY. Her articles have appeared in
Framework and Figurations in Indian Film.Laura Horak is a postdoctoral researcher in the Department of Media Studies at Stockholm University. Her writings have appeared in
Camera Obscura, Cinema Journal, and Film Quarterly.
Summary
Drawing on film archives from around the world, this volume advances the premise that silent cinema freely crossed national borders and linguistic thresholds in ways that became far less possible after the emergence of sound.
