The Liveliest Art

INTRODUCTION = xi 1: AN ART IS BORN (1895-1920) = 1 The Machine for Seeing Better = 3 The Theater Sets the Stage = 8 Dawn of the Narrative Film: Méliès and Porter = 12 Toward an International Film = 15 The First Film d’Art = 17 The Father of Film Technique: D. W. Griffith = 19 The Creative Producer: Thomas H. Ince = 25 Sennett, the Keystone of American Comedy = 27 Chaplin and the Rise of the Star System = 31 Movies Become Big Business = 38 2: THE GROWTH OF AN ART (1920-1930) = 43 Germany’s Golden Era = 44 The Shadow of Caligari = 45 The Street Films: Murnau and the Moving Camera = 47 Pabst and the Freudian Influence = 51 New Beginnings in Russia = 55 The Editing Principle: Vertov and Kuleshov = 57 Pudovkin and the Personal Epic = 59 Eisenstein and the Mass Epic = 61 Poetic Symbolism: Dovzhenko = 68 Postwar Decline in England and Italy = 72 Eclipse of the Scandinavian Film = 74 French Renaissance: Delluc, Clair, Feyder = 77 The Summing Up: Carl Dreyer = 82 The European Avant-Garde = 83 3: HOLLYWOOD IN THE TWENTIES = 91 Sin, Scandal and the Hays Office = 94 De Mille and the New Morality = 97 Hollywood Imports "Art" = 99 The Cowboys and the Clowns = 102 Sophistication and Style: Chaplin and Lubitsch = 108 Typecasting the Director = 112 The Rebel: Von Stroheim = 114 The Poet: Robert Flaherty = 118 The Compromise: Von Sternberg = 120 The End of the Silent Era = 122 4: THE MOVIES LEARN TO TALK = 124 Breaking the Sound Barrier = 126 The Tyranny of Sound = 128 Liberating the Camera: Ernst Lubitsch = 132 Mastering the Sound Track: René Clair = 135 Exploring the New Medium: Rouben Mamoulian = 137 New Forms, New Techniques = 140 Inspired Mayhem: The Marx Brothers and W. C. Fields = 143 Integration and Style: Astaire and Hitchcock = 146 The Script and the Stars = 149 The Art of the Sound Film = 152 The Integration of Style: Orson Welles = 156 5: INTERNATIONAL TRENDS = 164 France: Uncertainty and Despair = 165 Germany: Films for Propaganda = 170 Russia and the Satellites = 176 England and the Documentary Tradition = 187 The Course of Italian Neo-realism = 199 The Classic Art of the Japanese Film = 209 International Glimpses = 213 6: CHANGING TRENDS IN THE AMERICAN FILM = 218 The Rise of Documentary = 227 Art Films and the New Avant-Garde = 235 The Twilight of the Major Studios = 241 The Blacklist Years = 248 7: THE AUTEUR THEORY, AND A FEW OTHERS = 255 New Directors, New Directions = 275 GENERAL INDEX = 287 INDEX TO FILM TITLES = 296

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