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                                                        List of Illustrations

   

 

   Introduction

Mark Cousins making The Story of Film; Mark Cousins on TCM with Robert Osborne

The program announcing the screening of The Story of Film; a herald for The Story of Film; the cover of the book, The Story of Film 

  i. "Thrill Becomes Story"

Humphrey Bogart and Ingrid Bergman in Casablanca (Michael Curtiz,1942); Hohi Aoki and Choko Iida in The Record of a Tenement Gentleman (Yasujiro Ozu, 1947)

 George Bancroft and Evelyn Brent in Underworld (Josef von Sternberg, 1927); Kinuyo Tanaka and Joji Oka in Dragnet Girl (1933)

 Dorothy Mackaill and Douglas Fairbanks, Jr. in The Barker (George Fitzmaurice, 1928); Koji Mitsui and Yoshiko Tsubouchi in A Story of Floating Weeds (Yasujiro Ozu, 1934)

Thomas A. Edison; Louis and Auguste Lumiere; Salvador Toscano 

A scene in The Life of an American Fireman (Edwin S. Porter, 1903);  a scene inThe Assassination of the Duc de Guise (Charles le Bargy and Andre Calmettes, 1908)

Lou Tellegen and Sarah Bernhardt in Les Amours de la Reine Elisabeth (Queen Elizabeth; Louis Mercanton and Henri Desfontaines, 1912); Lillian and Dorothy Gish in An Unseen Enemy (D. W. Griffith, 1912)

Florence Lawrence, Frank Powell and Adele De Garde in The Country Doctor (D. W. Griffith, 1909); Robert Dinesen and Asta Nielsen in Afgrunden (The Abyss; Urban Gad, 1910)

A scene in Haxan (Witchcraft Through the Ages; Benjamin Christensen, 1922); a scene in The Phantom Carriage (Victor Sjostrom, 1921)

The Svensk Filmindustri studio in Stockholm, Sweden in 1920; Universal City in the San Fernando Valley, Los Angeles County in 1914

Anna May Wong, Marlene Dietrich and Warner Oland in Shanghai Express (Josef von Sternberg, 1932); Millie Liston and Ethel Grandin in Traffic in Souls (George Loane Tucker, 1913)

A scene in A Corner in Wheat (D. W. Griffith, 1909); George Beban in The Italian (Reginald Barker, 1914)

A scene  in Kindling (Cecil B. DeMille, 1915); Tyrone Power, Sr. in Where Are My Children? (Lois Weber and Phillips Smalley, 1916)

Raymond Hatton in The Whispering Chorus (Cecil B. DeMille, 1918); William S. Hart in Hell's Hinges (William S. Hart, Clifford Smith and Charles Swickard, 1916)

Tsuru Aoki and Sessue Hayakawa in The Dragon Painter (William Worthington, 1919); Edith Storey in A Florida Enchantment (Sidney Drew, 1914)

A scene in Atlantis (August Blom, 1913); a scene in The End of the World (August Blom, 1916)  

Edith Erastoff and Victor Sjostrom in The Outlaw and His Wife (Victor Sjostrom, 1917); a scene in Sir Arne's Treasure (Mauritz Stiller, 1919)  

The Universal Studio in Fort Lee, New Jersey in 1915; the Selig Studio in Chicago in 1915

A scene in The Story of the Kelly Gang (Charles Tait, 1906); Winifred Kingston, Dustin Farnum and Red Wing in The Squaw Man (Cecil B. DeMille and Oscar Apfel, 1914)

Alice Guy Blache; Lois Weber; Frances Marion

 Mary Pickford on the set of The Pride of the Clan (Maurice Tourneur, 1917); Mabel Normand and Harry McCoy in Mabel at the Wheel (Mabel Normand and Mack Sennett, 1914); Pearl White in Terror (Edward Jose, 1924)

D. W. Griffith directing in 1915; "War's Peace" in The Birth of a Nation (D. W. Griffith, 1915) 

The Carthage set in Cabiria (Giovanni Pastrone, 1914); the Babylon set in Intolerance (D. W. Griffith, 1916)  

Mae Marsh in Intolerance (D. W. Griffith, 1916); Yoshiko Yamanaka in Souls on the Road (Minoru Murata, 1921)

The strike scene in Intolerance (D. W. Griffith, 1916); the gallows scene in Intolerance (D. W. Griffith, 1916)  

Richard Barthelmess and Lillian Gish in Broken Blossoms (D. W. Griffith, 1919); Burr McIntosh, Kate Bruce, Vivia Ogden, Lowell Sherman, Lillian Gish, Mary Hay, Creighton Hale, George Neville, Richard Barthelmess, and Edgar Nelson in Way Down East (D. W. Griffith, 1920)

Carol Dempster in Isn't Life Wonderful? (D. W. Griffith, 1924); Hal Skelly (right) in The Struggle (D. W. Griffith, 1931)

Fernand Herrmann and Musidora in Les Vampires (Louis Feuillade, 1915-16); Pearl White in Plunder (George B. Seitz, 1923)

  ii "The Triumph of American Film"

The Hollywoodland sign circa 1923; the red bauble used as a symbol in the series; Grauman's Chinese Theatre

The "Pettin' in the Park" sequence in Gold Diggers of 1933 (Mervyn LeRoy and Busby Berkeley, 1933); Gene Kelly in Singin' in the Rain (Stanley Donen and Gene Kelly, 1952) 

Douglas Fairbanks, Sr. in The Thief of Bagdad (Raoul Walsh, 1924); the medieval Baghdad set in The Thief of Bagdad (Raoul Walsh, 1924)  

Douglas Fairbanks, Sr. and Mary Pickford in front of their new independent Hollywood studio in 1922; filming of a scene for a 1925 production at the Metro-Goldwyn-Mayer Studios in Culver City

 Buster Keaton in The General (Buster Keaton and Clyde Bruckman, 1927); Charlie Chaplin in City Lights (Charlie Chaplin, 1931); Harold Lloyd in Safety Last (Fred C. Newmeyer and Sam Taylor, 1923)

Buster Keaton in One Week (Buster Keaton and Edward F. Cline, 1920); a scene in The General (Buster Keaton and Clyde Bruckman, 1927)

Charlie Chaplin and Jackie Coogan in The Kid (Charlie Chaplin, 1921); Charlie Chaplin in The Great Dictator (Charlie Chaplin, 1940) 

 Harold Lloyd in Never Weaken (Fred C. Newmeyer and Sam Taylor, 1921); Mildred Davis and Harold Lloyd in Safety Last (Fred C. Newmeyer and Sam Taylor, 1923)

Robert J. Flaherty filming Nanook of the North, released in 1922; Allakariallak in the title role of Nanook of the North (Robert J. Flaherty, 1922)

 Erich von Stroheim in Blind Husbands (Erich von Stroheim, 1919); Erich von Stroheim and the Monte Carlo set in Foolish Wives (Erich von Stroheim, 1922)  

William H. O'Brien and Claire Windsor in The Blot (Lois Weber and Phillips Smalley, 1921); Theodore Roberts, Lois Wilson, Clarence Burton, and Mabel Van Buren in Miss Lulu Bett (William C. deMille, 1921)  

Erich von Stroheim directing Jean Hersholt in a test scene for Greed featured in Souls for Sale (Rupert Hughes, 1923); ZaSu Pitts, Jean Hersholt and Gibson Gowland in Greed (Erich von Stroheim, 1924)  

ZaSu Pitts and Gibson Gowland in Greed (Erich von Stroheim, 1924); Gibson Gowland and Jean Hersholt in Greed (Erich von Stroheim, 1924)

A scene in The Crowd (King Vidor, 1928); James Murray in The Crowd (King Vidor, 1928) 

Eleanor Boardman and James Murray in The Crowd (King Vidor, 1928); Nikolai Batalov and Lyudmila Semyonova in Bed and Sofa (Abram Room, 1927)  

New York as seen by King Vidor in The Crowd, released in 1928; Abram Room and his crew filming Moscow for scenes in Bed and Sofa, released in 1927

A scene in Aelita, Queen of Mars (Yakov Protazanov, 1924); Vitold Polonsky and Vera Karalli in After Death (Evgenii Bauer, 1915)

Evgenii Bauer; a close-up of Vera Karalli in After Death (Evgenii Bauer, 1915)

A close-up of Falconetti in The Passion of Joan of Arc (Carl-Theodor Dreyer, 1928); Falconetti in a scene in The Passion of Joan of Arc (Carl Theodor-Dreyer, 1928)  

Alice Terry and Antonio Moreno in Mare Nostrum (Rex Ingram, 1926); Rex Ingram directing Mare Nostrum on location in France  

Barbara Kent in Lonesome (Paul Fejos; 1928); Nell Shipman in one of the films she made for her Priest Lake, Idaho studio in 1923  

George Bancroft and Betty Compson in The Docks of New York (Josef von Sternberg, 1928); Betty Compson and Olga Baclanova in The Docks of New York (Josef von Sternberg, 1928) 

Igor Ilyinsky imitating Douglas Fairbanks' Zorro in A Kiss from Mary Pickford (Sergei Komarov, 1927); Igor Ilyinsky and Mary Pickford in A Kiss from Mary Pickford (Sergei Komarov, 1927) 

  iii "The Great Rebel Filmmakers"

Douglas Fairbanks, Sr. and Julanne Johnston in The Thief of Bagdad (Raoul Walsh, 1924); Victor Janson in The Oyster Princess (Ernst Lubitsch, 1919)

 Severin-Mars in La Roue (Abel Gance, 1922); Gabriel de Gravone and Ivy Close in La Roue (Abel Gance, 1922)

Abel Gance as St. Just in Napoleon (Abel Gance, 1927); Albert Dieudonne in the title role of Napoleon (Abel Gance, 1927)  

An image from the three-screen climax of Napoleon (Abel Gance, 1927)  

Conrad Veidt and Werner Krauss in The Cabinet of Dr. Caligari (Robert Wiene, 1920); a scene in A Page of Madness (Teinosuke Kinugasa, 1926)  

The city of the future in Metropolis (Fritz Lang, 1927); George O'Brien in Sunrise (F. W. Murnau, 1927)  

An image from Rien que les Heures (Alberto Cavalcanti, 1926); Simone Mareuil in Un Chien Andalou (Luis Bunuel and Salvador Dali, 1929)

 The soldiers on the Odessa Steps in Potemkin (Sergei M. Eisenstein, 1925); the baby carriage on the Odessa Steps in Potemkin (Sergei M. Eisenstein, 1925)  

Nikolai Batalov and Vera Baranovskaya in Mother (V. I. Pudovkin, 1926); Yuliya Solntseva in Earth (Alexander Dovzhenko, 1930)  

Kador Ben-Salim, Pavel Yesikovsky and Sofia Jozeffi in Little Red Imps (Ivan Perestiani, 1923); M. Shahubatyan-Tatieva in Namus (Amo Bek-Nazarov, 1925)  

Seiichi Kato and and Tomio Aoki (Tokkan Kozo ) in I Was Born, But. , , (Yasujiro Ozu, 1932); Tatsuo Saito and Takeshi Sakamoto in I Was Born, But. . . (Yasujiro Ozu, 1932)

 Isuzu Yamada in Osaka Elegy (Kenji Mizoguchi, 1936); Joan Crawford in Mildred Pierce (Michael Curtiz, 1945)  

Ruan Lingyu; Li Keng and Ruan Lingyu in The Goddess (Wu Yonggang, 1934); Zhang Zhizhi and Ruan Lingyu in The Goddess (Wu Yonggang, 1934)  

Wu Yonggang; Cai Chusheng; Sun Yu  

Albert Dieudonne in the title role of Napoleon (Abel Gance, 1927); Vasili Nikandrov as Lenin in October a.k.a. Ten Days That Shook the World (Sergei M. Eisenstein, 1928)  

Sergei M. Eisenstein; the sailors in Potemkin (Sergei M. Eisenstein, 1925)  

The sailors rebelling against tyrannical conditions in Potemkin (Sergei M. Eisenstein, 1925); Miriam Cooper as the southern girl reflecting the bitterness of war and military occupation in The Birth of a Nation (D. W. Griffith, 1915)  

Michiko Oikawa in Japanese Girls at the Harbor (Hiroshi Shimizu, 1933); Michiko Kuwano and Ken Uehara in Mr. Thank-You (Hiroshi Shimizu, 1936)  

Hiroshi Shimizu; Michiko Kuwano and Mitsugu Fuji in A Hero of Tokyo (Hiroshi Shimizu, 1935)

 Tsumasamuro Bando ("Bantsuma") in Orochi (Buntaro Futugawa, 1925); George Bancroft in Underworld (Josef von Sternberg, 1927)  

Mikio Naruse; Tatsuo Saito and Sumiko Kurishima in Yogoto no yume (Nightly Dreams; Mikio Naruse, 1933) 

Choko Iida and Shin'ichi Himori in The Only Son (Yasujiro Ozu, 1936); a scene in Humanity and Paper Balloons (Sadao Yamanaka, 1937)

Sadao Yamanaka; Yasujiro Ozu; Yasujiro Ozu and Sadao Yamanaka in 1938 serving in the Japanese army in China  

A peasant villager in The End of St. Petersburg (V. I. Pudovkin, 1927); Raisa Puzhnaya in Peasant Women of Ryazan (Olga Preobrazhenskaya and Ivan Pravov, 1927)  

Yelena Kuzmina, Nikolai Kryuchkov and Lev Sverdlin in By the Bluest of Seas (Boris Barnet, 1936); Dmitry Dorliak in A Severe Young Man (Abram Room, 1936); Leonid Utsoyov, Lyubov Orlova and Fyodor Kurikhin in Jolly Fellows (Grigori V. Alexandrov, 1934)

Anton Walbrook and Renate Muller in Allotria (Willi Forst, 1936); Marianne Hoppe and Paul Dahlke in Romanze in Moll (Romance in a Minor Key; Helmut Kautner, 1943)

 Isuzu Yamada in The Downfall of Osen (Kenji Mizoguchi, 1935); Ruan Lingyu and Zheng Junli in New Women (Cai Chusheng, 1935)  

Luo Peng, Jin Yan and Zhang Yi in The Big Road (Sun Yu, 1934); Wei Wei and Shi Yu in Spring in a Small Town (Fei Mu, 1948)  

Hou Yao; a scene in Romance of the West Chamber (Hou Yao, 1927); Lin Chuchu and T. K. Kar in Romance of the West Chamber (Hou Yao, 1927)

  iv. "The 1930s: The Great American Movie Genres"

Maurice Chevalier in Love Me Tonight (Rouben Mamoulian, 1932); Jeanette MacDonald in Love Me Tonight (Rouben Mamoulian, 1932)  

Boris Karloff in Frankenstein (James Whale, 1931); James Cagney and Edward Woods in The Public Enemy (William Wellman, 1931)

 George O'Brien and Madge Bellamy in The Iron Horse (John Ford, 1924); Carole Lombard and John Barrymore in Twentieth Century (Howard Hawks, 1934)  

Joan Blondell in Gold Diggers of 1933 (Mervyn LeRoy and Busby Berkeley, 1933); a scene in Snow White and the Seven Dwarfs (Walt Disney and David Hand, 1937)  

Frank Capra; James Stewart in Mr. Smith Goes to Washington (Frank Capra, 1939)

 Lew Ayres and Raymond Griffith in All Quiet on the Western Front (Lewis Milestone, 1930); Errol Flynn and Basil Rathbone in The Adventures of Robin Hood (Michael Curtiz and William Keighley, 1938)  

Vivienne Osborne and Edward G. Robinson in Two Seconds (Mervyn LeRoy, 1932); Barbara Stanwyck and Arthur Hohl in Baby Face (Alfred E. Green, 1933)  

A scene in The Blood of a Poet (Jean Cocteau, 1930); a scene in Zero de Conduite (Jean Vigo, 1933)  

A scene in The Life and Death of 9143: A Hollywood Extra (Robert Florey and Slavko Vorkapich, 1928); a scene in Lot in Sodom (James Sibley Watson, Jr. and Melville Webber, 1933)  

Rene Lefevre and Annabella in Le Million (Rene Clair, 1931); Jean Gabin in Pepe le Moko (Julien Duvivier, 1937)  

Jacques Feyder; Pierre-Richard Willm and Francoise Rosay in Le Grand Jeu (The Great Game; Jacques Feyder, 1934)

Jean Gabin and Michele Morgan in Le Quai des Brumes (Port of Shadows; Marcel Carne, 1938); Pierre Brasseur, Arletty and Jean-Louis Barrault in Les Enfants du Paradis (Marcel Carne, 1945)

 Jean Renoir, Roland Toutain and Nora Gregor in La Regle du Jeu (The Rules of the Game; Jean Renoir, 1939); Pierre Fresnay and Erich von Stroheim in La Grande Illusion (Jean Renoir, 1937)  

A scene in Westfront 1918 (G. W. Pabst, 1930); Carl Esmond, Donald Crisp, Errol Flynn, and David Niven in The Dawn Patrol (Edmund Goulding, 1938)

Mario Peixoto in Limite (Mario Peixoto, 1931); Olga Breno in Limite (Mario Peixoto, 1931)

Olga Breno in Limite (Mario Peixoto, 1931); Raul Schnoor and Taciana Rey in Limite (Mario Peixoto, 1931)

A scene in El Ultimo Malon (The Last Indian Rebellion; Alicides Greca, 1918); Clara Werther and Pedro Sienna in El Husar de la Muerte (The Horseman of Death; Pedro Sienna, 1925)

Humberto Mauro on a postage stamp commemorating the 85th anniversary of his film studio in Cataguases, Brazil; Carmen Santos in Sangue Mineiro (Blood of Minas Gerais; Humberto Mauro, 1929) 

 Paulo Morano and Lelita Rosa in Labios sem Beijos (Lips Without Kisses; Humberto Mauro, 1930); Durval Bellini and Dea Selva in Ganga Bruta (Brutal Gang; Humberto Mauro, 1933)

A scene in The Adventure of a Good Citizen (Stefan and Franciska Themerson, 1938); Alexander Hertz with his company making a film in his Sfinks Studio in Warsaw, Poland circa 1916  

Henryk Szaro (center) editing his film, Mocny czlowiek (A Strong Man), in 1929); Maria Majdrowicz and Grzegorz Chmara in Mocny czlowiek (A Strong Man; Henryk Szaro, 1929)

 Jadwiga Andrzejewska in Wyrok zycia (Life Sentence; Juliusz Gardan, 1933); Lili Liliana in The Dybbuk (Michal Waszynski, 1937)  

Adina Mandlova and Hugo Haas in Zivot je pes (A Dog's Life; Martin Fric, 1933); Oldrich Novy and Adina Mandlova in Kristian (Martin Fric, 1939)  

Pal Javor and Katalin Karady in Halalos tavasz (Deadly Spring; Laszlo Kalmar, 1939); Maria Tasnadi and Bela Bordy in Ket lany az utcan (Two Girls on the Street; Andre de Toth, 1939)

A scene in La Aldea Maldita (The Accursed Village; Fernando Rey, 1930); Amelia Munoz and Carmen Viance in La Aldea Maldita (The Accursed Village; Fernando Rey, 1930)

Oskar Karlweis and Lilian Harvey in Die Drei von der Tankstelle (The Three of the Filling Station; Wilhelm Thiele, 1930); Peter Lorre in M (Fritz Lang, 1931)

A scene in Kameradschaft (G. W. Pabst, 1931); Dorothea Wieck and Hertha Thiele in Maedchen in Uniform (Leontine Sagan, 1931)  

Leni Riefenstahl in Das Blaue Licht (The Blue Light; Leni Riefenstahl, 1932); Jesse Owens in Olympia (Leni Riefenstahl, 1938)  

Gustav Frohlich and Annabella in Sonnenstrahl (Ray of Sunshine; Paul Fejos, 1933); Paula Wessely and Anton Walbrook in Maskerade (Willi Forst, 1934)  

Renate Muller and Anton Walbrook in Viktor und Viktoria (Reinhold Schunzel, 1933); Carl Raddatz and Hannelore Schroth in Under the Bridges (Helmut Kautner, 1945)  

Luis Trenker in Der verlorene Sohn (The Prodigal Son; Luis Trenker, 1934); Sybille Schmitz and Aribert Mog in Fahrmann Maria (Ferryman Maria; Frank Wysbar, 1936)  

Hans Klering and Yelena Kuzmina in Okraina (Outskirts; Boris Barnet, 1933); a scene in Okraina (Outskirts; Boris Barnet, 1933)  

Alfred Hitchcock and his wife and scriptwriter, Alma Reville, in the mid-1930s; Robert Donat and Madeleine Carroll in The 39 Steps (Alfred Hitchcock, 1935)

 A scene in Gone With the Wind (Victor Fleming, 1939); Vivien Leigh in Gone With the Wind (Victor Fleming, 1939)  

  v. "The Devastation of War"  

John Wayne and Claire Trevor in Stagecoach (John Ford, 1939); Donald Meek, John Wayne, Andy Devine, Claire Trevor, George Bancroft, Louise Platt, Tim Holt, John Carradine, Berton Churchill, Francis Ford, and Thomas Mitchell in Stagecoach (John Ford, 1939)

 Orson Welles and Joseph Cotten in Citizen Kane (Orson Welles, 1941); George Coulouris, Agnes Moorehead and Harry Shannon in Citizen Kane (Orson Welles, 1941)  

Orson Welles in Citizen Kane (Orson Welles, 1941); Dana Andrews, Hoagy Carmichael, Harold Russell, and Fredric March in The Best Years of Our Lives (William Wyler, 1946)  

Anna Magnani in Rome, Open City (Roberto Rossellini,  1945); Enzo Staiola and Lamberto Maggiorani in Bicycle Thieves (Vittorio de Sica, 1948)

 Enzo Staiola and Lamberto Maggiorani in Bicycle Thieves (Vittorio de Sica, 1948); Gustavo Serena in Assunta Spina (Francesca Bertini and Gustavo Serena, 1915)  

Francesca Bertini in Assunta Spina (Francesca Bertini and Gustavo Serena, 1915); Francesca Bertini in a scene in Assunta Spina (Francesca Bertini and Gustavo Serena, 1915)  

A scene in Treno Popolare (Working-Class Train; Raffaello Matarazzo, 1933); Marcello Spada, Lina Gennari and Carlo Petrangeli in Treno Popolare (Raffaello Matarazzo, 1933) 

Giuseppe Gulino and Aida Bellia in 1860 (Alessandro Blasetti, 1934); a scene in 1860 (Alessandro Blasetti, 1934)

Kathe von Nagy and Maurizio D'Ancora in Rotaie (Rails; Mario Camerini, 1930); Isa Miranda in La Signora di Tutti (Anybody's Woman; Max Ophuls, 1934)  

Barbara Stanwyck and Fred MacMurray in Double Indemnity (Billy Wilder, 1944); Robert Mitchum and Jane Greer in Out of the Past (Jacques Tourneur, 1947)  

Lauren Bacall and Humphrey Bogart in The Big Sleep (Howard Hawks, 1946); John Dall and Peggy Cummins in Gun Crazy (Joseph H. Lewis, 1950)  

Gene Kelly and Leslie Caron in An American in Paris (Vincente Minnelli, 1951); Donald O'Connor, Debbie Reynolds and Gene Kelly in Singin' in the Rain (Stanley Donen and Gene Kelly, 1952)  

Ginger Rogers and Fred Astaire in Flying Down to Rio (Thornton Freeland, 1933); the title number in Dames (Ray Enright and Busby Berkeley, 1934)  

David Niven and Kim Hunter in A Matter of Life and Death (Michael Powell and Emeric Pressburger, 1946); a scene in The Third Man (Carol Reed, 1949)  

Betty Hutton, William Demarest, Eddie Bracken, and Diana Lynn in The Miracle of Morgan's Creek (Preston Sturges, 1944); James Stewart, Donna Reed and Thomas Mitchell in It's a Wonderful Life (Frank Capra, 1946)  

Nocki, Richard Dix and Lois Wilson in The Vanishing American (George B. Seitz, 1925); Lina Basquette in The Godless Girl (Cecil B. DeMille, 1928)

 Paul Muni in I Am a Fugitive from a Chain Gang (Mervyn LeRoy, 1932); a scene in Fury (Fritz Lang, 1936)

Humphrey Bogart in The Maltese Falcon (John Huston, 1941); Anna Magnani in Rome, Open City (Roberto Rossellini, 1945)  

 vi. "World Cinema Bursting at the Seams"

D. D. Dabke in Raja Harishchandra (Dadasaheb Phalke, 1913); Vishnupant Pagnis in Sant Tukaram (Vishnupant Govind Damle and Sheikh Fattelal, 1936)

Himanshu Rai in A Throw of Dice (Franz Osten, 1929); Charu Roy and Seeta Devi in A Throw of Dice (Franz Osten, 1929)

Durga Khote in Amar Jyoti (Eternal Flame; V. Shantaram, 1936); Fearless Nadia in Miss Frontier Mail (Homi Wadia, 1936) 

 Hussein Sedki and Fatma Rushdi in Al-Azima (The Will or Determination; Kamal Selim, 1939); a scene in Al-Azima (Kamal Selim, 1939)  

The Killarney Film Studios in Johannesburg, South Africa in 1917; the Bayoumi Photo Film for Photography and Cinematography in Alexandria, Egypt established in 1929; Mohamed Bayoumi in front of his Alexandria film studio

Abdel-Hamid in Barsoum Looks for a Job (Mohamed Bayoumi, 1923); Beshara Wakin in Barsoum Looks for a Job (Mohamed Bayoumi, 1923)  

The Misr Studios in Cairo established in 1935; Hussein Sedki and Fatma Rushdi in Al-Azima (Kamal Selim, 1939)  

Mohamed Abdel Wahab (right) in The White Rose (Mohamed Karim, 1933); Naguib al-Rihani (right) in Salama fi khayr (Everything is Fine; Niazi Mustafa, 1937)  

Aziza Amir; Bahiga Hafez; Fatma Rushdi  

Ahmed al-Shari-ai, the financier and husband of the star-producer Aziza Amir, Stephan Rosti, the director, and Aziza Amir editing her first film, Laila, in 1927; Togo Mizrahi (right) and the cast members of his Alexandria studio in the '30s

 A scene from El Automovil Gris (The Gray Automobile; Enrique Rosas, 1919); Octavio Valencia and Ignacio Ojeda in El Puno de Hierro (The Iron Fist; Gabriel Garcia Moreno, 1927)  

Antonio R. Frausto and Alfredo del Diestro in El Compadre Mendoza (Fernando de Fuentes and Juan Bustillo Oro, 1934); Maria Felix in Dona Barbara (Fernando de Fuentes, 1943)

Pedro Armendariz and Maria Elena Marques in La Perla (Emilio Fernandez, 1947); a scene in Los Olvidados (The Young and the Damned; Luis Bunuel, 1950)

 Jane Wyman in All That Heaven Allows (Douglas Sirk, 1955); Lissy Arna and Zarah Leander in Zu neuen Ufern (To New Shores; Douglas Sirk, 1937)

 vii. Conclusion  

Arthur Tauchert, Stanley Robinson and Lottie Lyell in The Sentimental Bloke (Raymond Longford and Lottie Lyell, 1919); Lottie Lyell and Arthur Tauchert in The Sentimental Bloke (Raymond Longford and Lottie Lyell, 1919)  

Jose Agustin Ferreyra; Maria Turgenova, Ferreyra's wife and star of a number of his silent films in the '20s; Floren Delbene and Libertad Lamarque in Besos Brujos (Bewitching Kisses; Jose Agustin Ferreyra, 1937)  

An image from La Coquille et le Clergyman (Germaine Dulac, 1928); Dorothy Arzner and Clara Bow on the set of The Wild Party (Dorothy Arzner, 1929)  

Paulette McDonagh directing The Cheaters, released in 1930; Marie Lorraine (Isabel McDonagh) and Josef Bambach in The Cheaters (Paulette McDonagh, 1930)  

Uno Henning in A Cottage on Dartmoor (Anthony Asquith, 1929); Uno Henning in a scene in A Cottage on Dartmoor (Anthony Asquith, 1929)

 Iris Barry; Close-Up, the film magazine published from 1927 to 1933 by Kenneth Macpherson; Paul Rotha  

Anna May Wong in Piccadilly (E. A. Dupont, 1929); a scene in Piccadilly (E. A. Dupont, 1929) 

Vlasta Burian and Adolf Dymsza in The Twelve Chairs (Martin Fric and Michal Waszynski, 1933); Naguib al-Rihani in Everything is Fine (1937)

A scene in La Virgen de la Caridad (The Virgin of Charity; Ramon Peon, 1930); Apollon Marsyas and Lucy Matli in Daphnis and Chloe (Orestis Laskos, 1931)

Early regional production in Latin America: Clarita Ibanez in El Tren Fantasma (The Ghost Train; Gabriel Garcia Moreno, 1927), filmed in Orizaba, Mexico; Luis Soroa and Carmen Santos in Sangue Mineiro (Humberto Mauro, 1929), filmed in Cataguases, Brazil

Janet Gaynor and George O'Brien in Sunrise (F. W. Murnau, 1927); Gina Manes in Napoleon (Abel Gance, 1927)  

A scene in Dushi Fengguang (Scenes of City Life) (Yuan Muzhi, 1935); Yoshiko Okada and Kazuko Ojima in An Inn in Tokyo (Yasujiro Ozu, 1935)  

Fannie Ward and Sessue Hayakawa in The Cheat (Cecil B. DeMille, 1915); Pearl White and Creighton Hale in The Exploits of Elaine (Theodore and Leopold Wharton, 1915)  

Louis Delluc; Henri Langlois 

William S. Hart in Hell's Hinges (William S. Hart, Clifford Smith and Charles Swickard, 1916); Denjiro Okochi in A Diary of Chuji's Travels (Daisuke Ito, 1927)  

Lillian Gish on the ice in Way Down East (D. W. Griffith, 1920); this sequence influenced other films around the world including Mother (V. I. Pudovkin, 1926)

Pola Negri in Mazurka (Willi Forst, 1935); this German film was closely remade in Hollywood with Kay Francis in the lead as Confession (Joe May, 1937)

Lillian Gish in a street scene in The Musketeers of Pig Alley (D. W. Griffith, 1912); a  street scene in Bicycle Thieves (Vittorio de Sica, 1948)  

Li Lili in Tianming (Daybreak; Sun Yu, 1933); Dea Selva in Ganga Bruta (Humberto Mauro, 1933)