14 2002 Content

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Richard Koszarski	Introduction Film/Music	3
G.W. Beynon	Playing the picture: musical directors	5
Toby Haggith	Reconstructing the musical arrangement for The Battle of the Somme (1916)	11
Enno Patalas	On the way to Nosferatu	25
Richard Koszarski	Laughter, music and tragedy at the New York Pathé Studio	32
Ron Hutchinson	The Vitaphone Project. Answering Harry Warner's Question: 'Who The Hell Wants To Hear Actors Talk?'	40
Martin Hunt	Their Finest Hour? The Scoring of Battle of Britain	47
Stephen Bottomore	Smith versus Melbourne-Cooper: An end to the dispute	57
John W. Burton and Caitlin W. Thompson	Nanook and the Kirwinians: Deception, authenticity, and the birth of modern ethnographic representation	74
Martin Stollery	Eisenstein, Shub and the gender of the author as producer	87
Bruce Williams	Frysky business: Micro-regionalism in the era of post-nationalism	100
Daniel J. Leab	Introduction: Film and religion	119
María Elena de las Carreras Kuntz	The Catholic Vision in Hollywood: Ford, Capra, Borzage and Hitchcock	121
Greta Austin	Were the peasants really so clean? The Middle Ages in film	136
Sally Shafto	Artist as Christ/Artist as God-the-Father: Religion in the Cinema of Philippe Garrel and Jean-Luc Godard	142
William R. LaFleur	Suicide off the edge of explicability: awe in Ozu and Kore'eda	158
Christine L. Marran	Tracking the transcendental: Kore'eda Hirokazu's Maboroshi	166
Sheldon Hall	Selling religion: how to market a Biblical epic	170
David R. Williams	Never on Sunday: The early operation of the Cinematograph Act of 1909 in regard to Sunday opening	186
Stephen Bottomore	Projecting for the Lord - the work of Wilson Carlile	195
Kevin Lewis	Rev. Herbert Jump and the motion picture	210
Herbert A. Jump	The religious possibilities of the motion picture	216
	Back issues of Film History - volumes 1-12 (1987-2000)	229
Stephen Bottomore	Introduction: War and Militarism. Dead white males	239
Stephen Badsey	The depiction of war reporters in Hollywood feature films from the Vietnam War to the present	243
Jeff Hulbert	Right-wing propaganda or reporting history? - the newsreels and the Suez crisis of 1956	261
Nicholas J. Cull	Great Escapes: 'Englishness' and the Prisoner of War genre	282
Richard Koszarski	Subway commandos: Hollywood filmmakers at the Signal Corps Photographic Center	296
Kay Gladstone	The AFPU - The origins of British Army combat filming during the Second World War	316
Toby Haggith	D-Day Filming - For Real. A comparison of 'truth' and 'reality' in Saving Private Ryan and combat film by the British Army's Film and Photographic Unit	332
Tony Shaw	Early warnings of the Red Peril: A pre-history of Cold War British cinema, 1917-1939	354
Luke McKernan	Propaganda, patriotism and profit: Charles Urban and British official war films in America during the First World War	369
Roger Smither	'Watch the picture carefully, and see if you can identify anyone': recognition in factual film of the First World War period	390
Kirk J. Kekatos	Edward H. Amet and the Spanish-American War film	405
Jean-Jacques Meusy	How cinema became a cultural industry: the big boom in France between 1905 and 1908	418
Janet Bergstrom	Murnau in America: Chronicle of lost films	430
Richard Brown	Book review	461