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Richard KoszarskiIntroduction Film/Music3
G.W. BeynonPlaying the picture: musical directors5
Toby HaggithReconstructing the musical arrangement for The Battle of the Somme (1916)11
Enno PatalasOn the way to Nosferatu25
Richard KoszarskiLaughter, music and tragedy at the New York Pathé Studio32
Ron HutchinsonThe Vitaphone Project. Answering Harry Warner's Question: 'Who The Hell Wants To Hear Actors Talk?'40
Martin HuntTheir Finest Hour? The Scoring of Battle of Britain47
Stephen BottomoreSmith versus Melbourne-Cooper: An end to the dispute57
John W. Burton and Caitlin W. ThompsonNanook and the Kirwinians: Deception, authenticity, and the birth of modern ethnographic representation74
Martin StolleryEisenstein, Shub and the gender of the author as producer87
Bruce WilliamsFrysky business: Micro-regionalism in the era of post-nationalism100
Daniel J. LeabIntroduction: Film and religion119
María Elena de las Carreras KuntzThe Catholic Vision in Hollywood: Ford, Capra, Borzage and Hitchcock121
Greta AustinWere the peasants really so clean? The Middle Ages in film136
Sally ShaftoArtist as Christ/Artist as God-the-Father: Religion in the Cinema of Philippe Garrel and Jean-Luc Godard142
William R. LaFleurSuicide off the edge of explicability: awe in Ozu and Kore'eda158
Christine L. MarranTracking the transcendental: Kore'eda Hirokazu's Maboroshi166
Sheldon HallSelling religion: how to market a Biblical epic170
David R. WilliamsNever on Sunday: The early operation of the Cinematograph Act of 1909 in regard to Sunday opening186
Stephen BottomoreProjecting for the Lord - the work of Wilson Carlile195
Kevin LewisRev. Herbert Jump and the motion picture210
Herbert A. JumpThe religious possibilities of the motion picture216
Back issues of Film History - volumes 1-12 (1987-2000)229
Stephen BottomoreIntroduction: War and Militarism. Dead white males239
Stephen BadseyThe depiction of war reporters in Hollywood feature films from the Vietnam War to the present243
Jeff HulbertRight-wing propaganda or reporting history? - the newsreels and the Suez crisis of 1956261
Nicholas J. CullGreat Escapes: 'Englishness' and the Prisoner of War genre282
Richard KoszarskiSubway commandos: Hollywood filmmakers at the Signal Corps Photographic Center296
Kay GladstoneThe AFPU - The origins of British Army combat filming during the Second World War316
Toby HaggithD-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 Unit332
Tony ShawEarly warnings of the Red Peril: A pre-history of Cold War British cinema, 1917-1939354
Luke McKernanPropaganda, patriotism and profit: Charles Urban and British official war films in America during the First World War369
Roger Smither'Watch the picture carefully, and see if you can identify anyone': recognition in factual film of the First World War period390
Kirk J. KekatosEdward H. Amet and the Spanish-American War film405
Jean-Jacques MeusyHow cinema became a cultural industry: the big boom in France between 1905 and 1908418
Janet BergstromMurnau in America: Chronicle of lost films430
Richard BrownBook review461