^^l^^^i3^i^^
778
is Volume is for
:RENCE USE ONLY
KANSAS CITY, MO PUBLIC LIBRARY
D 0001 45E2ffl
Coilana di Studi Cinematografici di Bianco e Nero
diretta da Giuseppe Sala
Bibliografia generale del cinema
Bibliographic gen6rale du cin6ma
General Bibliography of Motion Pictures
a cura di
CARL VINCENT
RICCARDO REDI e FRANCO VENTURINI
Edizioiii dell' Ateneo - Roma
CENTRO CINEMATOGEAFICO
DELL'UNIVEHSITA DI PADOVA
Questa Bibliografia Generate del Cinema stata compilata nel-
1'ambito del Centro Cinema tografico dell'Universit^ di Padova da un
gruppo di studio 1 con la collaborazione di corrispondenti stranieri. Al
lavoro, durato parecchi anni, hanno partecipato:
Prof. Carl Vincent, direttore delP opera
Dott. Riccardo Redi, assistente
Dott. Franco Venturing
Ubaldo Bosello, compilatore
Etrio Fidora
Lalla Luciani
Lidia Manfredini
Paolo Sambin
Mario Scolari
Giuseppe Strano
Piero Tortolina
Giorgio Trentin
Cette Bibliographic G6n6rale du Cinema a 6t6 compile au Centre
matographique de PUniversit de Padoue par un grcmpe d J 6tiide avec la collabo-
ration de correspondants etrangers. Au travail, qui a dur6 plusieurs annes, ont
particip6 les personnes citees ci-dessus.
This General Bibliography of Motion Pictures has been compiled by a
group of members of the Cinematographic Centre of the University of Padua
with the cooperation of some foreign correspondents. The work of compilation
took several years and was performed by the persons mentioned above.
Au moment ou se tenyiim notre tache, nous ressentows le devoir de
citer les organisations et les personndites qui nous ont mde a condmre
a realisation notre initiative: Wniwersite de Padoue, ses Recteurs Mag-
nifiques : Senateur Ferrabmo, Prof Mmeghetti \et Ferro, le Prof. Fioc-
co } directeur de Vlnstitut d'Histoire de I'Art, qui nous ont, en partie,
assure les moyens pour entrepmndn Le? tnawail et ne nous ont jam^is
epargne lews encouragements] le Prof. G S<d, directeur du Centre Ex-
perimentd de Cinematographic de Rome et de " Bianco e Nwo ", qui
nous a ouvert la voie a la publication; tous les correspmdcmts qui nous
ont aide a computer ou a controller notre materiel d' information, parti-
culierement la " Rockefeller Foundation " et son directeur dd la section
" E wncmites ", E F. D'Arms, d\ont les appuis mortmx et materiels ont
ete des plus precieux et des plus decisifs; Bernard Karpel, conseruateur
de la Bibliotheque du "Museum of Modern Art" de New-York prof.
Frmco Vmturi, oanseittier cultural pres PAmbassade d'Italie\ a Moscow,
C. R. Morey, cmseillier cultural pres I'Ambassade des Et\ats Unis d'Ame-
rique a Rome, Ove Brusendorff, direct\eur du ff Det Dansks Filmmusewm ",
Einar Lauritzm, directeur de la " FUmhistorika Samlingarna" del
Stockholm, Stefan Kompath, (du " Orszagos Film-Hivatd" de Budapest,
Philips Temple, mnserwteur de h " Theater $<ammlung " a la " Osher-
reichis>che National-Bibliothek", Mario Ponce de Leon, conseillier cul-
turel pres PAmbassade d'Espagne a Rome,, Felix Ribiero, directeur de
la Section Cinematiogmphique du fc Secreitwiado National de Informa-
gao " de Lisbonne; Dr. Heinz Zimmermann, Dr. Charles Reinsert, Jean-
George Auriol, Dr. Mario Verdone, Dr. Martin Quigley jr , Dr. Fausto
Mmtesmli; le (( British Film Institute", le "British Cvwitil" ,
r " American Library Association ", le " Motion Pictures Research Coun-
cil ", r ff Academy of Motion Pictures Arts mid Sciences " ^Hollywood,
r " Institut des Hmtes Etudes Cinematographiqms " de Paris, le " Ces-
koslavensky SMm Film " , le " Ceshoslovensky Fttmovy Ustav v Pruze " f
le " Ceskoslovensky PUmovy Nakladatdstvo ".
Que la reconnaissance d*mde eclairee et genereuse que nous leur
marquons ici reflete notre profonde gratitude a leur egard.
C. V.
PEEFAZIONE
L'origine di questa Bibliografia Generale del Cinema & da ricer-
care nella ripetuta constatazione sia diretta che indiretta, delle difficolta
che si incontrano negli stud! su argomenti storici, scientific!, artistic!,
economici, tecnici, giuridici, social!, relativamente nuovi, per scoprire,
scegliere e raccogliere il materiale informativo, teorico o critico, neces-
'sario alia preparazione dei lavori o dissertazioni sui divers! aspetti e
caratteri del cinema, del film, della loro evoluzione e proiezione nella
cultura.
Esistono, sicuramente, dei lavori bibliografici seri consacrati al
cinema, al film e ai numerosi problemi che essi suscitano : li si trovera
elencati nel Capitolo IX. Tuttavia i loro autori li hanno limitati sia
ai lavori di una sola lingua, sia ad una sola materia o ad un solo tema; o
si sono limitati a prender nota delle opere generalmente considerate come
fondamentali, che non possono pretendere, al giorno d'oggi, di dare un
panorama complete e sufficiente degli studi, delle conoscenze e ricerche,
dei documenti e delle teorie il cui esame e la cui discussione si impon-
gono per fare un lavoro nuovo veramente utile. Inoltre, tranne nel caso
del cc Film Index a a cura di Harold Leonard, e di Das Deutsche Film-
schriftum di Traub e Lavies, limitati il primo alle materie attraverso
le quali il film e considerate un'arte, e 1'uno e Taltro alle opere di
lingua inglese e rispettivamente tedesca, queste bibliografie non stabi-
liscono nei casi necessari, nessuna divisione sistematica degli argomenti
trattati, rendendo cosi la ricerca difficile, incerta; di prfi provocano una
spiacevole perdita di tempo. II vantaggio della classificazione sistema-
tica delle materie evidente nel Film Index , che d'altra parte for.
nisce pure un compendio di numerosi KbrL Invece sfuma in Das
Deutsche Filmschriftum , la cui metodologia discutibile -e le defi-
cienze nel campo della storiografia ingiustificate.
Non abbiamo la pretesa d'aver compilato una bibliografia che possa
rispondere alle piu estreme esigenze. Tra queste vi potrebbe essere,
in primo luogo, quella di un commento informativo o critico sugli scritti
elencati. Nella quasi totality dei casi abbiamo dovuto rinunciarvi a
causa di parecchie difficoltit, le piti important! delle quali sono pura-
mente material!, Se ci sar& possibile assicurarci nell'avvenire i mezzi
per vincerle, non esiteremo a rimetterci aH'opera.
D'altra parte, abbiamo dovuto fare una scelta delle voci, e ogni
scelta, anche quando giustificata da una logica, pu6 talvolta apparire
arbitraria. Infine, il nostro lavoro di ricerca e di identificazione, durato
diversi anni, stato spesso intralciato dalla difficolta di rintracciare o
di consultare certe opere, di controllare direttamente alcuni dei loro
element! per completare Pinfonnazione, o per procedere alia loro classi-
ficazione. In certi casi non abbiamo potuto provvedere no! stessi alia
compilazione delle schede; abbiamo dovuto allora rimetterci ai dati for-
nili da commentator! o da corrispondenti. Cosi nel Capitolo XI Libri
non classificati )) si troveranno, assieme a scritti che la loro carenza di
una netta definizione e la continua interpolazione di materie varie desti-
nano automaticamente a questo capitolo, anche qualche lavoro che non
siamo riusciti a identificare con precisione e sicurezza e che percid ci &
rimasta impossible di classificare.
Pensiamo, tuttavia, che per Tampiezza, la molteplicit& e la diyer-
sita delle fonti considerate e delle varie lingue contemplate quindi
delle posizioni spirituali, delle correnti di pensiero, e degli atteggiamenti
molto different! per il metodo di classificazione che noi ci siamo sfor.
zati di rendere il piu semplice e il piii chiaro possibile, abbiamo fatto
opera utile, che aiutera a superare la situazione che abbiamo segnalata.
Ci sembra infine indispensabile fornire qualche dettaglio sui^cri-
teri che ci hanno guidato nella scelta e neirordinamento del materiale.
Abbiamo generalmente scartato, salvo che nel Capitolo VIII (Formato
Ridotto e Film d'Amaton) gli scritti di pura e semplice divulgazione.
Cosi nel Capitolo IX nei riguardi di volumi e stampati di propaganda
particolare, quando essi non portavano elementi utili ad illuminare
imparzialmente il lettore su qualche questione generale o specifica, su
una personahta, oppure non contenevano una documentazione d'insieme
ed inedita. Di tutta la massa di giornali e di riviste, eccezion fatta per
quanto riguarda pubblicazioni come a Bianco e Nero , La revue du
cinema , Hollywood Quarterly , Close Up , Sight and Sound ,
non abbiamo conservato che gli scritti che per la personality del loro
autore o Timportanza come informazione o discussione, rivestivano un
particolare interesse.
II materiale si trova diviso in 27 classificazioni e sotto division!;
e ci6 tanto per comoditi di consultazione, quanto per poter fornire una
visione organica e critica di cosi vasta produzione bibliografica. Eviden-
temente se la classificazione di certi argornenti netta e sicura, per
esempio non vi saranno dubbi nel distinguere un manuale tecnico da
un lavoro giuridico, i confini invece tra estetica e critica, tra critica e
storia, sono molto labili. Abbiamo cercato di dare delle definizioni, che
corrispondono naturalmente alia comune accezione, di tale categorie, e
le abbiamo riportate nella forma piu breve possibile airinizio di ogni
capitolo. II nostro desiderio di chiarezza non impedir& tuttavia che
qualche saggio estetico si sia mescolato alle monografie storiche, e che
qualche articolo classificato come critica sia invece cosi ricco di consi-
der azioni general! o di dati e di informazioni da essere in realta piut-
tosto una monografia estetica o storica. Ci6 non dipende, nella maggio-
ranza dei casi, da mancanza di documentazione da parte nostra: siamo
talvolta rimasti a lungo incerti nel classificare non solo libri conosciu.
tissimi, ma in un caso persino nel classificare un saggio scritto da uno
di noi.
Per tali ragioni siamo stati indotti talvolta a classificare un' opera
in diversi capitoli: e infatti freqtientissimo il caso di libri die trattino
due o piu aspetti diversi del cinema : come We Make the Movies a
cura di Nancy JSTaumburg, che ha contemporaneamente un carattere
aneddotico e come tale si ritrover& nel terzo paragrafo del Capitolo
Storia e contemporaneamente da ampi ragguagli sulla lavorazione
del film^ e quindi trova posto anche nel Capitolo Tecnica, parte seconda.
I libri invece che trattino molti aspetti diversi del cinema, fino a corn-
porne un quadro generale sono riportati nel pnmo capitolo e non sono,
salvo rari casi, ripetuti in nessun altro se non nei loro elementi chiara.
mente caratteristici; sopratutto quando si tratta di opere di larga col-
laborazione.
Abbiamo seguito come criterio generale quello di classificare se-
condo Pintimo carattere del libro, e non tanto secondo Fargomento. Un
caso tipico e quello del libro di Aroseff Le Cinema en U.R.S.S. il cui
carattere e profondamente storico, e non generale, sebbene tratti argo-
menti diversi.
Precisiamo infine: le voci sono nella lingua originale, senza tradu-
zione quando si tratti di libri inglesi, francesi, tedeschi, spagnoli In
tutti gli altri casi al titolo orginale segue la traduzione; tranne nel caso
di un ribro armeno, il cui titolo originale non era riducibile facilmente
in caratteri latini. La riduzione dei nomi e dei titoli russi & fatta secondo
il comune metodo del corrispondente fonetico italiano. Quando e stato
possibile rintracciarlo e nei casi piii importanti, al titolo del libro segue
il sommario.
Mentre rimandiamo alPinizio dei singoli capitoli per le definizioni
e le spiegazioni dettagliate, ci sembra utile fornire immediatamente lo
schema classificativo della materia:
I - Opere generali
II - La Storiografia
III - L'Estetica e la Critica
IV - La Tecnica
V - I Problem! Sociali & Morali
VI - / Problemi Giuridici ed Economici
VII - II Cinema e la Scienza
VIII - II Formato Ridotto ed il Film d'Amatori
IX - D&cumentazwne e Aniologie
X - Soggetti e Sceneggiature
XI - Libri non classificati
Noi speriamo che la nostra iniziativa incontrera Tinteresse e il con-
senso degli studiosi, e che essi ci vorranno manifestare il loro favore con
suggerimenti ed osservazioni che ci saranno utilissimi per un eventuale
aggiornamento dell 'opera.
Carl Vincent
L'origine de cette Bibliographie Generate du Cinema est a rechercher
dans la constatation repetee, directe ou indirecte, des difficultes rencontrees dans
des etudes histonques, scientifiques, artistiques, economiques, techniques, juridi-
ques, sociales, relativement neuves, specialement dans la decouyerte, le choix
iet le rassemblement d'un materiel informatif, theonque ou critique necessaire
pour la preparation de travaux ou de theses sur les divers aspects et caract6res
du cinema, du film, de leur evolution et de leur tapport avec la culture en
general.
II existe, certes, des ouvrages bibliographiques serieux consacr6s au cmma,
au film et aux nombreux problemes qu'ils suscitent: on les trouvera cite"s au
Chapitre IX. Toutefois, leurs auteurs les ont limir.es soit aux publications en une
seule langue, soit a un-e seule matlere ou a un seul the"me; ou ils se sont borne
a relever les oeuvres generalement considerees comme fondamentales mais qui
ne peuvent prtendre, aujourd'hui, de donner un panorama complet et suffisant
des etudes, des connaissances et recherches, des documents et des theories dont
1'examen et la discussion s'imposent pour mener a bien un travail vraiment utile.
D'autre part, sauf dans le cas du Film Index edit par Harold Leonard et de
Das Deutsche Filmschnftum de Traub et Lavies, limites, le premier, aux
tnatieres a travers lesquelles le film est considere comme un art et respectivement
Pun et 1'autre aux publications de langue anglaise et allemande, ces bibliographies
n'etablissent, dans les cas necessaires, aucune division syst6matique des argu-
ments traites, rendant ainsi la recherche difficile, incertame et lente. L'avantage
de la classification des matieres est evidente dans Film Index qui par ailleurs
donne souvent sommaire et resume de Pouvrage signale. II s'evanouit, par contre,
dans Das Deutsche Films chnf turn dont la methodologie est discutable et les
carences dans le domaine de Phistorographie rn]ustifi6es.
Nous n'avons pas la prevention d'avoir compile une bibliographic qui puisse
repondre aux plus extremes exigences. Parmi ces dernie'res on pour ait noter celle
d*un coramentaire informatif ou critique sur les ecnts citds. Dans la quasi totality
des cas nous avons du y renoncer en raison de diverses difficulte's dont les plus
importantes sont purement mat6nelles. Si, dans Favenir, il nous est possible de
nous assurer les moyens pour les vaincre, nous n'hesiterons pas a nous remettre
a Poeuvre.
D^autre part, nous avons du faire un choix des citations et tout choix, encore
que logiquement justifie, peut parfois paraitre arbitraire. Enfin, notre travail de
recherche et d'identification qui s'est poursuivi durant plusieurs ann6es, a 6te
souvent contrecare par 1'impossibilite de retrouver ou de consulter certains 6cnts,
de controler directement certains de leurs Elements pour computer 1'mformation
et proceder a la classification. Dans certains cas, nous n'avons pu proceder nous-
m^mes a la compilation des fiches; nous avons du, alors, nous en remettre aux
details apportes par des commentateurs ou des correspondants. Ainsi dans le
Chapitre XI Livres non classifies on trouvera, a cote d'ecrits que leur carence
d'une nette definition ou la continue interpolation d*e diverses matures destinent
automatiquement a tel chapitre, quelques ouvrages que nous n'avons pas russi
a identifier avec precision et surete et que, de ce fait, il nous a iti impossible
de classifier. t
Nous croyons, toutefois, que par 1'ampleur, la multiplied et la diversity
des sources consid6rees comme des langues contemp!6es du coup des positions
spintuelles, des courants de pens^e et des reactions , par la me'thode de classi-
fication que nous sommes efforce de rendre la plus simple et la plus claire pos-
sible, nous avons fait oeuvre utile qui aidera a vaincre la situation die nous avons
signalee
II nous parait necessaire de fournir quelques details sur les criteres qui nous
ont guide's dans le choix, 1 'organisation et la presentation du materiel. Nous
avons generalement ecarte, sauf dans le Chapitre VIII (Format rduit et Film
10
^.'amateurs), les 6crits de pure et simple divulgation. Dans le Chapitre IX, nous
avons omis les publications de propagande particulidre lorsqu'ils n'apportaient
pas d'elements utiles a eclairer impartialement le lecteur sur 1'une ou Pautre
question generate ou specifique, sur une personnalite" ou encore ne contenaient
pas une documentation d'ensemble ou medite. De Pimposante masse des journaux
et revues, exception faite pour ce qui regarde ds publications comme : Bianco e
Nero , <c La Revue du Cinema , Hollywood Quarterly , Close Up , <c Sight
mid Soitnd , nous n'avons conserve" que les Merits qui par la personnalite" du
signataire ou Pimportance comme information ou discussion, revtaient un
interet particulier,
Le materiel est divise en 26 classifications et sous divisions : ceci pour la com-
modite de la consultation et pour donner une vision organique et critique de la
vaste production bibliographique. Si la possibilite de classification de certains
arguments est nette et sure (il n'y a aucun doute, par exemple, dans la dis-
tinction d'un manuel technique d'un ouvrage juridique) les departages entre es-
thetique et critique, entre critique et histoire, sont fatalement malaises Nous
nous sommes naturellement efforce' de donner des definitions, correspondent k la
commune acception, de telles categories ; nous les avons notees dans la forme la
plus breve en te*te de chaque chapitre. Notre volonte de clarte n'empechera pas
toutefois que Pun ou Pautre etude esthetique soit melee aux monographies his-
toriques et que Pun ou Pautre article classhie" comme <c critique soit si riche d^
consideration gen6rales ou de faits ou d 'informations d'apparaitre tout autant
une monographic esthetique ou histonque. Ceci ne depend pas dans la majorite
des cas d'un manque de documentation de notre port . nous sommes parfois reste
longtemps incertain pour classifier non seulement des ouvrages tee's connus mais
m&tne, dans un cas, une etude ecrite par Pun de nous.
Cette situation de fait nous a parfois conduit classifier un ouvrage dans
plusieurs chapitres. Le cas est trs frequent de livres qui traitent deux ou divers
aspects du cinema un exemple: c We Make the Movies 6dit6 par Nancy Naum-
burg revet, un caractre anecdotique et pour cela se trouve dans le paragraphe
3 du Chapitre Historiographie et dans le m&tne temps donne d'amples details
sur le travail du film. Du coup il se retrouve dans le Chapitre sur la Technique
paragraphe 2. Au contraire les volumes qui traitent plusieurs aspects divers du
cin6ma au point d'en donner une vision generale, sont nots dans le premie*
Chapitre et ne sont sauf en de rares cas, repns dans aucun autre sinon dans leur
elements clairement caracterises et, surtout, lorsqu'il s'agit d'oeuvres de larges
^collaboration.
Comme critere gnral de la classification nous avons suivi le caract6re intime
des 6crits plus que 1'argument. Un cas typique est oelui de 1'oeuvre d'Aroseff
Le Cinema en URSS dont le caractere est profondement historique et non
general encore qu'il trait e des arguments les plus divers.
Precisons enfin les citations sont dans la langue originale sans traduction
lorsqu'il s'agit de livres et d'ecrits en anglais, fran?ais, allemand, espagnol, ita-
Hen. Dans les autres cas, au titre original, fait suite la traduction en itahen, sauf
dans un cas relatif a un ouvrage armenien dont il manque le titre original difii-
^cilement reproduisible en caract6res latins. La transposition des noms et des
titres russes est faite selon la commune methode de la correspondance phon6tique
italienne. Lorsque il a et& possible de le trouver et dans les cas les plus impor-
tants, le sommaire suit le titre du volume.
Tandis que nous renvoyons en tte de chaque chapitre pour les definitions
-et les explications detaillees, il nous parait utile de donner ici un aspect d'ensem-
fole de la classification de la matie're
I "Oeuvres Gn<rales
II L'Historiographie
III L J Esthetique et la Critique
IV La Technique
V Les Probl6mes moraux et sociaux
VI Les Probl6mes juridiques et e*conomiques
11
VII Le Qnma et la Science
VIII Le Fornat reduit et le Film d'amateurs
IX Documentation et Anthologies
X Sujets et scenarios
XI Ouvrages non classifies.
Nous esperons que notre initiative rencontrera 1'interet et approbation de
tons ceux qui s'interessent aux etudes sur le cinema et le film et qu'ils voudront
eventuellement nous marquer leur attention par des suggestions et des observa-
tions qui pourraient nous tre tttiles pour un possible ajournement de 1'ouvrage.
The origin of this General Bibliography of Motion Pictures is to be found
in the repeated recognition, both direct and indirect, of the difficulties encounter-
ed, when undertaking studies relating to comparatively new historical, scientific,
artistic, economic, technical, legal and social subjects, in discovering, choosing
and collecting the information and the theoretical and critical material needed
to prepare works or dissertations on the different aspects and characters of the
cinema, films, their evolution and their influence on culture.
Reliable bibliographic works devoted to the cinema, to films and to the many
problems connected therewith undoubtedly exist and a list of them will be found
in Chapter IX. However their authors have limited them either to works in one
language only, or to one subject or one theme only. Or they have limited them-
selves to considering the works generally recognized as being of basic importance,
but which cannot claim today to give a complete and sufficient presentation
of the studies, experience, researches, documents and theories, which it is.
necessary to examine and discuss in order to produce a really useful work
of consultation. Moreover, except for the Film Index s> edited by Harold L6o-
nard and Das Deutsche Filmschriftum by Traub and Lavies, the former limit-
ed to the cinema considered as an art and both limited to works in the
English and German language respectively, these bibliographies do not,
when necessary, contain any systematic classification of the subjects dealt
wath, a fact which makes consultation difficult and unsatisfactory, besides
causing a troublesome loss of time. The advantages of a systematic clas-
sification of the subject-matter are obvious in cc Film Index which, moreover,
also supplies a compendium of a number of books They are not present howevei
in Das Deutsche Filmschriftum , where the methodology is questionable and
the shortcomings in the field of historiography quite unjustified.
We do not claim to have compiled a bibliography capable o satisfying the
most exacting requirements. Among the latter, for instance, might be that dem-
anding an informative or critical comment on the writings listed. In almost all
cases we have had to forego anything of this kind owing to a number of difficul-
ties, the most important of wich were of a material nature. If we succeed in the
future in obtaining the funds needed to overcome these difficulties, we shall show
no hesitation in setting to work again.
Furthermore we have had to make a selection of items and any selection,
even when it finds its justification in logic, is apt at times to appear arbitrary.
Lastly our research and identification work, which lasted several years, was often
held up by difficulties encountered in tracing and consulting certain works and in
personally controlling some parts thereof in order to complete the information
supplied or proceed to classify them. In certain cases we were unable to attend to
the compilation of the files ourselves and were obliged to rely on the information
supplied by commentators or correspondents. Thus in Chapter XI, Unclassified
Books , will be found not only writings whose lack of any clear definition and
constant interpolation of different subjects automatically places them under this-
12
heading, but also some works that we have not succeeded in. identifying with
precision and certainty and have consequently been unable to classify.
We trust, however, that thanks to the size, multiform character and variety
of the sources consulted and the different languages contemplated and con-
sequently also the widely differing outlooks, currents of thought and attitudes
as well as the method of classification that we have endeavoured to render as sim-
ple and clear as possible, our work will be found of help in overcoming the dif-
ficulties mentioned further back.
Lastly we feel that it is indispensable to supply some information regarding
the principles by which we were guided in our choice and arrangement of the
material. Except in Chapter VIII (Sixteen Millimeter and Amateurs' Films), we
have generally avoided printing anything merely for purposes of divulgation. This
principle has also been adopted in Chapter IX with regard to special propaganda
publications, when they do not provide such 'information as can enlighten readers
impartially concerning some general or specific matter or some personality or
when they do not contain general and unpublished documentation. From the
whole mass of newspapers and magazines with the exception of publications
like Bianco e Nero , La Revue du Cinema , Hollywood Quarterly , Close
Up and Sight and Sound we have taken only such articles as are of
particular interest, owing either to the author's personality or to the importance
of the information or discussion.
The subject-matter is divided into 26 groups and sub-groups, both to facilitate
consultation and to present an orderly and critical view of so vast a bibliographic
production. It is obvious that whereas the classification of certain subjects is
clearly defined and unmistakable there can be no difficulty for instance in dis-
tinguishing a technical handbook from a legal work . the boundary-line between
aesthetics and criticism or between criticism and history is less clearly marked.
We have endeavoured to give definitions of these categories corresponding natur-
ally to the common acceptance and we have set them down in the shortest possible
form at the beginning of each chapter. However our desire for clarity will not
have prevented some aesthetic essay from getting mixed up with the historical
monographs, just as some article classified as criticism may be so rich in
general observations or figures and information as to be in reality more in the
nature of an aesthetic or historical monograph. This is not due in most cases to
any lack of documentation on our part we were sometimes uncertain for a long
time how to classify not only well-known books, but in one case actually an essay
written by one of us.
For these reasons we sometimes reached the decision to classify a work in
different chapters , in fact there are quite a number of books dealing with two or
more different aspects of the cinema, like Nancy Naumburg's We Make the
Movies , which is rich in anecdotes and for this reason is mentioned in the
third paragraph of the chapter on history while at the same time it supplies
a lot of information regarding the making of a film, a fact which entitles it to a
place in the second part of the chapter on technique. Books dealing with many
different aspects of the cinema and thus forming an all-round picture, however,
are mentioned in the first chapter and, except in a few rare cases, no further
mention is made of them save as regards certain markedly characteristic parts
thereof, especially in the case of works compiled by many contributors.
The general principle we have adopted is that of classifying books according
to their nature rather than according to their subject. A typical case is
that of Aroseff's Le Cinema en U.R.S.S , the nature of which is definitely
historical, and not general, although different subjects are dealt with.
Lastly, the titles are in the original language, without any translation in the
case of English, French, German and Spanish books. In all other cases the original
title is followed by the translation, with the sole exception of an Armenian book,
the original title of wich was not easy to transcribe in Latin lettering. The trans-
cription of Russian names and titles is effected acording to the usual method of
resorting to the corresponding Italian phonetics. Whenever possible, the titles of
the most important books are followed by a summary.
13
While referring our readers to the beginning of each chapter for detailed
definitions and explanations, we feel that a table of the classification of the subject-
matter should be supplied immediately:
I General Works
II Historiography
III Aesthetics and Criticism
IV Technique
V Social and Moral Problems
VI Legal and Economic Problems
VII The Cinema and Science
VIII Sixteen Millimeter and Amateurs* Films
IX Documentation and Anthologies
X Subjects and Screen Plays
XI "Unclassified Books.
We hope that this enterprise of ours will be welcomed with interest and
approval by students of these matters and that they will give us proof thereof by
letting us have suggestions and making remarks which we shall find most useful
in bringing this work up to date in a revised edition.
14
CAPITOLO I
Opere general!
Opere che trattano simultaneamente vari aspetti del cinema (storico, tecnico,.
estetico, giundico, ecc.) ; o che, non approfondendo in particolar modo alcuno di
essi, tentano di dare una visione generale della cmematografia.
OEUVRES GENERALES
Ouvrages qui traitent simultanement divers aspets du cine'ma (historique,.
technique, esthe'tique, juridique, etc.) on qui n'approfondissant specialement
aucun de ceux ci, cherchent de donner une vision gen6rale de la cinematographic,.
GENERAL WORKS
Works dealing simultaneously with different aspects of the cinema (historical,,
technical, aesthetic, legal, etc.) or which, without going thoroughly into any of
these aspects, attempt to give a general view of cinematography.
A. B.
Katekismen der allegemeinen Bil-
dung. Bb. 30. Der Film. Entstehung
und Entwicklung. 100 Fragen und
Antworten.
Wien.
ACIMOVIC, Dragan R.
Za sedmu umetnost (La settima arte)
Beograd, 1938.
ACKERKNECHT, Erwin
Lichtspielfragen.
Berlin, Weidmannsche Buchand-
lung, 1928, pp. 152.
Sommario: Psychologic u. Padago-
gik des Lichtspiels - Der Film als
Kulturproblem - Die kunstlerichen
Entwicklungsmoglichkeiten des bel-
letristichen Films - Das Liechspiel
in seinen organischen Zusammen-
wirken mit anderen Einrichtungen
der Bildungspflege - Ein interna
tionales Filmarchiv in Deutschland
- Lichtspielreform, ohne Lichtspiel?
ADLER, Mortimer 3.
Art and Prudence: A Study In
Practical Philosophy.
Longmans, Green & Co., New
York, 1937, pp. 686.
AMID, John, pseud. (Myron Morris
Stearns)
With the Mo-vie Makers, with fifty-
one illustrations from famous stu-
dios and from the author's own
productions.
Boston, Lothrop, Lee & Shepard,,
1923. pp. 192. ill. 51.
Sommario : i. How do you watch
the movies? 2. Trick stuff. 3. The
world through a camera. 4. Inside
the studio. 5. Making a motion pic-
15
ture. 6. Pioneer days in the movies.
7. What makes good pictures good?
8. How good can a picture be? 9.
American movies abroad. 10. Mo-
vies of tomorrow.
AMMANN, Hans
Lichtbild und Film in Unterncht
und Volksbildung. Lehrbuch der
Technik, Pddagogik, Methodtk, und
Aesthetic des Lichtbildes.
Munchen, Dt. Volksverlag, 1936.
pp. 479, ill. 44.
ANDREWS, Cyril Bruyn
The Theatre, the Cinema and our-
selves.
London, Clarence House Press, 1947,
pp. 52, ill.
ANOSCENKO, N. D,
Kino.
Moscva, 1929.
ARALDI, Vinicio
Cinema, arte del nostro tempo/
Milano, Ed. Prora, 1939, pp. 205.
ARNAUD, Etieime < BOISYVON
Le cinema pour tous.
Paris, Garni-er, 1922, pp. 292, tav.
1 t. 5.
ARNOUX, Alexandre
Cinema.
Paris, G. Cres, 1929, pp. 123, con
dis. D'Andre & Foy.
ART CINEMATOGRAPHIQUE,, (L f )
Paris, Felix Alcan, vol. I, 1926,
pp. 103, tav. f. t. 8, 16.
Sommario : Le comique et 1 'hu-
mour par Beucler A. - L'emotion
liumaine par Dullin C. - La va-
leur psychologique de 1 'image par
Allendy R.
Vol. IT 1927, pp 102, tav. f t. 8,
16.
Sommario : Signification du cin6-
ma par Quint P. - Les estheti-
ques, les entraves, la cinegraphie in-
tgrale par Dulac G. - cc Formation
-de la sensibility par Landry L. -
Le temps de 1 'image est venu
par Gance A.
vol III, 1927, pp. 149, tav. f. t.
'8, 16.
Sommario : La posie du cinema
par Maurois A. - Le musique del
images par Vuillermoz E.
Theatre et cinema par Lang A
- Cinema et litterature par Ber-
.ge A.
vol. IV, 1927, pp. 116, tav. f. t.
3, 16
Sommario : Le cinematographe et
Fespace par L'Herbier M. - Ci-
nema expression sociale par Mous-
smac L. - Introduction a la magie
blanche et noire par Valentin A.
vol. V, 1929, pp. 143, tav. f. t.
8, 16.
Sommario : cc Hollywood au ralenti
par Meunier-Surcouf G.
vol. VI, 1929, pp. i37> t^v. f. t.
8, 16.
Sommario : Le decor par Mal-
let-Stevens R. - Le maquillage
par Schutz M. - Le costume par
Bilinsky B. - La technique par
Richard A. P.
vol. VII, 1930, pp. 134, tav. f. t.
8, 16.
Sommario : Le cinema en France
par Boisyvon - Le cinema en Ita-
lie par Ghione E. - Le cinema
en Amerique par Ferri-Pisani.
vol. VIII, 1931, pp. 151, tav. f. t.
8, 16.
Sommario : Le cindma allemand
par Jeanne R. - a Le cinema nordi-
que par Dahlin T. - tc Le cinema
russe par Altaian G.
AZEVEDO, Manuel (de)
O cinema en marcha.
Porto, Ed. Cadernos Azuis, 1943,
PP- 59-
Panorama actual do cinema.
Porto, Ed. Livrana Latma, 1946,
pp. 80.
BAGIER, Guido
Der kommende Film. Eine Abrech-
nung und erne Hoffnung. Was war?
Was ist f War wtrd ?
Stuttgart, Deutsche Verlags-Anstalt,
1928, XCVI/H9 pp., ill. 203.
BAHRENS, Kurt
Der Schall-Fihn. Geschicte, Technik,
Einsatz.
Berlin, Veilag f. Recht und Verwal-
tung, 1939, pp 47.
BARRY, Iris
Let's go to the Movies.
New York, Payson and Clark, 1926,
pp. 278, ill.
Sommario i. Let's go to the pic-
tures. - 2. Dolls and Dreams. - 3.
Art ? - 4 The public's pleasure. -
5 The sub-title. - 6. Acting. - 7.
Stars. - 8. Comedians. - 9. Conven-
tions and morals. - 10. Difficulties. -
ii. A vicious triangle - 12, Producers,
directors and others. - 13. Speaking
16
of international. - 14. A. dialog of
two sober men as tough Plato and
Aristotle. - Bibliography. - Index. -
Glossary of terms. - List of films.
Bedeutung des Films und Lichtbildes
(Die) Sieben votroge, Munchen,
Max Kellerer, 1917, pp. 67. Som-
mario: i. Ackerkencht: Das L/ichts-
piel im Dienste der Bildungspfie-
ge. - 2. Schonhuber: Der Kinoun-
terricht und die Verwertung des
Lichtspieljs in den verschiedenen
Unternchtszweigen - 3 Pfeiffer:
Lichtspielbuhnen, eine Aufgabe
neuzeitlicher Gemeindepolitik
4 Jacob: Die Bedeutung des Films
und Lichtbildes fur die Nationale
und wirtschftliche Werbearbeit.
- 5. Gleichen-Russwurm Lichtspiel
und Dichtung. - 6. Endres : Der
Film als Mittel der militarischen Be-
richterstatlung. - 7. Roemer : Bild-
nerisch Forderung an die Lichtspiel-
theater.
BELLING, Curt & BETZ, Hans Wal-
ther <& NEUMANN, Carl
Film-Kunst, Film-Kohn, Film-Kor-
ruption. Em Stteifzug durch vier
Film-Jahrzenhte .
Berlin, Scerping, 1937, pp. 171, ill.
21, ntratti 50.
BENDICK, Jeanne
Making the Movies.
New Yoik, Me Graw-Hill, 1945,
pp 190. 2 a ed. New York, Elek,
1947-
BENNETT, Alfred Gordon
Cinemania : Aspects of Filmic Crea-
tion.
London, Jarrolds, 1937, pp. 432,
ill. 40.
BENNETT, Colin N.
Handbook of Kinematography ; The
H'sloiy, Thcoiy, and -practice of Mo-
tion Photography and Projection.
London, The Kmematograph Weekly,
1015, pp. 348, ill.
BENOIT-LEVY, Jean
Les grandes missions du cinema.
Montreal, Lucien Parizeau, 1945,
PP 349-
The Arl of Motion Picture.
New York, Coward-Mc Cann, 1946,
PP- 350.
Trad, di Theodore R. Jaeckel.
BERACHA, Sammy
Le miiage du cinema : introduction
& une esthetique et a une sociologie
du septieme art.
Paris, S.E.P.E., 1947.
BETZ, Hans Walther & NEUMANN,
Carl & BELLING, Curt
Film-Kunst f Film-Kohn, Film-Kor-
ruption. Ein Streifzug durch vier
Film- fa hrzen hte.
(vedi Belling Curt).
BEYER, Nils
En bok om film. (Un libro del ci-
nema) .
Stockholm, Ed. Radiotjanst, 1949,
pp. 219, 8.
BLOEM, Walter
Seele des Lichtspiels. Eine Bekennt-
nis zum Film.
Leipzig, Grethlein u. Co., 1922, pp.
184, ill. 22.
Soul of the Moving Picture.
New York, Dutton & Co., 1924,
pp. 164.
Trad, di Allen W. Porterfield.
BOISYVON, & ARNAUD, Etienne
Le cinema pour tou ( s.
(vedi Arnaud E.).
BOUGHEY, Davidson
The Film Industry. (Pitman's com-
mon commodities and industries).
London, Pitman, 1921, pp. no, ill.
Sornmario : Introduction. - i. The ci-
nematograph film. - 2. The cinemato-
graph camera, - 3. Perforating, de-
veloping and drying. - 4. Printing,
tinting, toning and titling. - 5. A
motion picture studio. - 6. Films and
Film-makers. - 7. Fiction film produc-
tion. - 8 Travel, topical, and scien-
tific films. - 9. Film distribution and
publicity. - 10. The projector and the
screen. - n. Film exhibition.
(BOVAY, G. M.) a cura, di
Le cine'ma: un oeil ouuert sur ie
monde.
Lausanne, Ed. Clairefontaine, 1952.
pp. 152, ill. 100, So.
Sommario * Dialogue avec J. Cocteau.
- L J age heroique du cin6ma, par L.
Moussmac. - Peter Schlehmihl et le
commerce des ombres, par G. Sa-
doul. - Pour un cinema impur (de-
fense de 1 'adaptation.), par A. Ba-
zin - Poesie et realisme, par G. M.
Bovay. - Le dessin anim6, par M,
Bessy. - Le cinema saisit le vif, par
Thevenot.- - Le cinema et le piege
de la realite, par N. Vedres. - Le
17
musee vivant (le film sur 1'art), par
G. M. Bovay.
BOWDEN, Paul W. & STERNER, Ali-
ce P.
Course in Motion-picture Apprecia-
tion.
(vedi Sterner, Alice P.).
BRAZIER, Marion Howard
Stage and Screen.
Boston, Brazier, 1920, pp. 130.
BUCHANAN, Andrew
Art and Life of the Film.
London, 1936.
The Art of Film Production; with
an appreciation by John Grierson.
London, Pitman, 1936, pp. 99, ill.
IS, 8.
Sommano . Introductory - Behind the
screens - What is screen art? Choos-
ing a subiect - Creative direction -
Dramatizing industry - News-reels or
real news - The camera goes to see
- Screen magazine production.
Film en toekomst, (Film e avvenire).
Amsterdam, Het Hollands ee Mitge-
vershins, 1946, pp. 165, 16.
Films: the Way of the Cinema.
London, Pitman & Sons, 1932, pp.
232, ill., 8.
New York, Pitman Publishing Cor-
poration, 1932, pp. 226, ill.
BUCHANAN, Andrew, FIELD, M.,
LAMBERT, R., LEJEUNE, C., &
ROTHA, Paul
For Filmgoers only - The intelligent
filmgoer's guide to the film.
London, Faber & Faber, 1934, pp 98.
BURSAK, L
Kino. (II cinema)
Moskva, Proletkmo, 1926, pp. 104, ill.
CAMERON, J. R. & DUBRAY, J. A.
Cinematography and Talkies.
Woodmont, Conn., Cameron Publ
Co., 1932, pp. 255.
CARSTAIRS, John Paddy
Movie Merry-go-round. Prefazione
di M. Carroll.
London, Newnes, 1937, pp. 240, ill.
CHESMORE, Stuart
Behind the Cinema Screen; illustra-
ted from photographs and from draw-
ings by A. L. Stephens.
London, Nelson, 1934, pp. 100, ill.
Sommario : i. From script to shoot-
ing. - 2. The shooting begins. - 3
Editing the film. - 4. Seeing and
believing. - 5. The news in pictures.
- 6. The story of Mickey Mouse .
- 7. The Secrets of Nature . - 8.
Teaching animals to act. - 9. Into
the programme. - 10. How it all
began.
CHRISTENSEN, Theodor & ROOS*.
Karl
Film, Stum-F., Tone~F., Fatbe-F.,
Kunstforrn, Tekmk, Kultur. (II film;
film rnuto, film sonoro, film a colo-
ri, forma d'arte, tecnica, cultura).
Kobenhavn, Levin og Munksgaard
Forlag, 1936.
CINEMA, (Le)
(Encyclopedic par Vimage).
Paris, Hachette, 1925, pp. 63, ilL
125, 8.
Cinema en Fan 2000, (Le)
(Le cinquantenaire du\ Cinema).
Paris, Rond-Point, 1945, pp. 68, ill.
Cinquantenaire du cinema
(28 Decembre 1895-28 Decembre 1945)
Paris, Prisma, 1946, pp 48.
COUSINS, Edmund George
Filmland in Ferment.
London, Archer, 1932, pp 304, ill-
Sommario : I. The film - II. The ac-
tor - III. The audience.
CRAPOUILLOT (Le). Numeros spe-
ciaux
Le Cmema
Paris, mars 1923, pp. 12, ill.
Articoh di . Galtier-Boissiere, Mous-
smac, Delluc, Arnoux
Le Cinema.
Pans, mars 1927, pp. 50, ill.
Scritti di: Harry-Baur, Arnoux^
Moussinac, Clair, Beucler, Braga,,
Leon-Martin, Gallier-Bolssier, Pre-
vost, Blanchard, Cheronnet.
DALE, Edgar
How to Appreciate Motion Pictures;-
a manual of motion-picture criticism
prepared /or high-school students.
New York, Macmillan, 1935, pp. 243,
8<>.
Sommario : i. What is motion pic-
ture appreciation ? - 2 Shopping for
your movies. - 3. The history of the
movies. - 4. A visit to a studio. - 5.
Motion picture reviewing - 6. The-
story. - 7 Acting. - 8. Photography.
- 9. Setting. - 10. Sound and music. -
ii. Direction. - 12. What are motion
pictures for? - 13. What next?
DARTINGTON Hall Trustees
'Ihe Factual Film, a survey spons-
ored by the D. H. trustees. Published
on behalf of the Arts enquiry by
18
PEP (Political and Economic Plan-
ning)
London, New York, ecc , Geoffrey
Cumber bge, Oxford University Press,
1940.
(DAVY Charles) a cum di
Footnotes to the Film: essays.
London, Lovat, Dickson and Thomp-
son, Oxford University Press, 1937
(sommario vedi in Cap. IX, II).
DE BRUYN, Jeanne
Dat is films. (Ecco il film).
Antwerpen, De Sikkel, 1942, pp.
94, 8.
DELPEUCH, Andre
Le cinema.
Paris, Ed. G. Dom et Cie, 1937,
pp. 292.
Sommario : Les films plus celbres -
La presse du cinema, ecc.
DERYCKE, Gaslon
Destin du cinema.
Bruxelles, La Roue Solaire, 1943,
pp. 127, ill. 30, 8.
DeutscKe Lichtbildbuch, (Das)
Filmpiobleme von gestetn und heute.
Im auftrage der Deutschen Lichtbild-
ges. e. V. hesg. v. H. Pfeiffer.
Berlin, Aug Scherl, 1924, pp. 49.
D1AMANT BERGER, Henri
Le cinema.
Paris, Renaissance du Livre, 1919,
pp. 282.
DIECKMANN, Friederich
Das Kino. Scin Werden und die
Mogkchkeiten seiner Gestaltung.
Wolfnbuttel, J. Zwissler, 1921, pp. 32.
(DI GIAMMATTEO, Femaldo), a
cura di
Essenza del film.
Torino, Ediziom di II Dramma ,
1947, pp 128.
Sommario Parte prima . Significato
e importanza del cinema. - Chiarini :
II film nei problemi dell'arte. - Groll :
i mezzi d'espressione del film. - Mar-
vell : II film e il realismo. - Jezek :
Cinema e letteratura - Marinucci:
Film e commedia. - Balazs : II cine-
ma e il capitalismo - Casiraghi Ci6
che chiediamo al cinema, oggi. -
Parte seconda Struttura. - Barbaro :
Soggetto e tema. - Eisenstein : Sog-
getto e sceneggiatura. - May : Tecni-
ca della sceneggiatura. - Welles-
Mankiewicz: Citizen Kane (brano di
sceneggiatura). - Aristarco-De Santis-
Lizzani-Vergano : II sole sorge anco-
ra (brano di sceneggiatura). - Pasi-
netti-Puccini La regia cinemato-
grafica. - L'Herbier : II compito es-
senziale del regista. - Nilsen : Stile
creative nell'arte delJ'operatore. -
Rehlinger . II volto cinematografico,
- Paolucci : Scenografia per film. -
Jaubert* La musica nel film. - Pu-
dovkin II montaggio come base del
film. - Campassi : Grammatica e sin-
tassi del film - Parte terza . Alcuni
problemi del film. Malraux : Per una
psicologia del film parlato. - Flaher-
ty La funzione del documentario. -
Di Giammatteo : II film a color i non
c ancora nato. - Bandini : Decaden-
za del disegno animato. - Anstarco :
II problema della censura.
DUBRAY, J. A. & CAMERON, J. R.
Cinematography and Talkies.
Woodmont, Conn., Cameron PubL
Co., 1932, pp 255-
The Factual Film
The Arts Enquiry
London, Oxford University Press,
1947.
FALQUINA, Angel
El mundo del celuloide.
1946.
FAWCETT, L'Estrange
Films : facts and forecasts.
London, Geoffrey Bles, 1927, pp. 277,
ill.
Sommario : i . History and future of
the film - 2 British finis. - 3. Films
and politics. - 4. The Americans *
faults. - 5. The dominating dollar -
6. <c Trustification . - 7. American
persons and personalities. - 8. Public
and publicity. - 9, American picture
theatres. - 10. New York. - n. To
the Coast. - 12. Los Angeles and Hol-
lywood. - 13. In the studio. - 14. Com-
mittee-made pictures. - 15. Came-
ra! . - 16. Chaplin in his studio. -
17. Chaplin the man. - 18. Stars and
their fans. - 19. Scenery and settings ~
- 20. Germany. - 21. Modern treat-
ment and technique. - 22. Appre-
ciation. - 23. The woman. - 24. Chil-
dren. - 25. Art of business. - 26. Da
we take the cinema too seriously? -
27. Carpe Diem' .
Die Welt des Films. Unter Mit-
wirkung des Wiener Filmbundes fur
die deutsche Ausgabe frei bearbeitet
und erganzt von C. Zell u. S. W.
Fischer.
19
Wien, Amalthea, 1928, pp. 230, ill.
102.
FEJER, Taimas
Film. A film gyartasa, esztetikafa es
jovoe. (Film : la sua produzione, la
sua estetica e il suo future).
Budapest, Ed. Iras, IV Becsi u. 1.,
I943-
FELIX, Jean
Le chemin du cinema. Comment ac-
ceder auoo diffe*rentes carrieres cine-
matographiques : art, commerce, In-
dustrie, technique. Prefazione di Jac-
ques Feyder.
"PAt-iQ Film et technique, 1934, pp.
96, ill. 90.
(FESCOURT, Henri) a cura di
Le cinema des origines a nos jours
Prefazione di Henri Fescourt.
Paris, EQ-. Du Cygne, 1932, pp. 366,
ill. 275, 4.
Sommario : Precisions sur 1'histoire
du Cinema, par Coissac G. M. - Jules
Marey et la chronophotographie, par
le Dr. Nogues - Le cinema parlant,
par Picot M. et Chardois H. - Les
laboratoires de tirage, par Maurice
G. - La naissance d'un film, par Sau-
rel L. - L '6 volution artistique du ci-
neinatographe, par Jeanne R. - Le
cinema en France apres la guerre,
par Bouquet J. L. - Les stars, par
Auriol G. A. - De la photog6nie dans
ses rapports avec les objets, les etres
et la nature, par Hamrnan J. - Le
cinematographe, les sciences et la
nature, par le Dr. Comandon - Re-
portage, par Croze J. L. - Le produc-
teur, son role, par Delac Ch. - L'au-
teur de films, par Burquet Ch. - Fi-
nance et cinema, par Fain Gael - Le
cinema d 'avant-garde, par Dulac G.
FIELD, M. & LAMBERT, R. & LEJEU-
NE, C. & ROTHA, P. BUCHA-
NAN A.
For FUmgoers only - The Intelligent
Filmgoer's Guide to the Film.
London, Faber & Faber, 1934, pp. 98.
FISCHER, Wolfang
Des belebte Bild. Funf Kapitel uber
Film und Kino.
Wien, Franz Deuticke, 1931, pp. 32.
(Deutsche Lesehefte, 23).
FUCHSIG, Heinrich
Rund um den Film. Grundriss einer
allg. Filmkunde.
Wien, Deuscher Verlag fur Jugend
aind Volk, 1929, pp 221.
GAD, Urban
Filmen. Dens Midler og Maal. (II
film; i suoi mezzi e i suoi scopi).
Kobenhavn, Gildendalske Boghandel,
Nordisk Forlag, 1919, pp. 288, 8
Der Film. Seine Mittel, seine Ziele.
Berlin, Schuster und Loeffler, 1921,
pp. 283.
GRAFF, Werner
Das Buch vom Film.
Stuttgart, Thienemanns, 1932, pp. 64
GROSSER, Reinhold Fritz
Wege zum Film. Betrachtungen jur
Jedermann.
Berlin, Filmkunstverlag, 1919, pp. 70
HARRISON, Louis Reeves
Screencraft.
New York, Chalmers Publ Co., 1916,
pp. 151, ill.
HIPPLER, Fritz
Betrachtungen zum Film-S chaff en.
Berlin, Hesse, 1942, pp. 107.
(Schriftenreihe der Reichsfilmkam-
mer, 8).
HIRSCHFELD-MACK, L.
Fatbenlicntespielr. Wesen, Ziele, Kri-
tiken.
Berlin, 1925, pp. 27.
HOLAN, Emil
Kniha o filmu. (II libro del film).
Praha, Synek, 1938, pp. 120, 4.
HONEG, Karl
Die Wahrheit ubcr das Kino.
Berlin, Jugendbuchhandlung, 1921,
PP- 16-
2 a ed : Ebda, 1922.
HOPWOOD, Henry V.
Living Pictures : Their History, Pho-
to-Reproduction and Pratical Work-
ing.
New York, Tennat and Ward, New
York, 1899.
HOSTAN, Jean
O filmu. (II film).
Praha, Statni Nakladatelstvi, 1935,
pp. 47, 80.
HUMFREY, Robert
Careers in the films.
London, Pitman, 1938, pp. 104, ill.
Sommario : i. Early days of the
British film industry some remi-
niscences. - 2. Crafts and occupations
embodied in a studio unit. - 3. A
peep into a modern studio. - 4. How
and why a film talks. - 5. The sound
engineer. - 6 The cc sound effects
supervisor. - 7. The news-reel came-
raman. 8. The free-lance camera-
20
man. - 9. The treatment of the film
in the processing laboratories. - 10.
A few hints to young girl aspirants.
- ii. The advent of colour films.
IUTKEVICH, Sergei
Cielovtek na ekranie. (L'uomo sullo
schermo)
Moskva, Goskmoisdat, 1947. pp. 280,
ill. 100.
Sommano Discorso sull'attore. - Di-
scorso sul regista cinema tografico. -
Discorso sul montaggio. - L'artista
al cinema. - Diario di un regista.
JACKSON-WRIGHLEY, M. & LEY-
LAND, Eric
The Cinema: Historical, Technical
and Bibliographical.
A survey for Librarians and Stu-
dents. Introduzione di W. Armstrong.
London, Graf ton, 1939, pp. 198.
JASPER, G.
Vom Film.
Bethel, Vlgshaus d. Anstalt Bethel,
1934, pp. 30.
(Sonderdruck d. Monatsbl. Beth-El.
17).
KEIM, Jean
Un nouvel art: le cinema $onore.
Paris, Albin Michel, 1947, pp. 352,
ill. 16.
Le cinema.
Paris, Editions Bourrelier et C.ie,
1940, pp. 128, ill. 100.
KENNEDY, Joseph Patrick (a cura di)
The Story of the Films; as told by
leaders ot the industry to the stu-
dents of the Giaduate School of Bus-
iness Administration, George F. Ba-
ket Foundation, Harvard University.
A. W. Shaw co., 1927, pp. 377, ill.
Sommario : i. General introduction
to the course, by J. P. Kennedy. - 2
Supervision from within, by Will H.
Hays. - 3. Origin and growth of the
industry, by Adolph Zukor. - 4. Fi-
nancial aspects, by Dr. Attilio H.
Giannini. - 5. Production problems,
by Jesse L. Lasky. - 6. Building a
photoplay, by C. B. de Mille. - 7.
Short reels and educational subjects,
by Earl W. Hammons. - 8. The actor's
part, by Milton Sills. - 9. Distribut-
ing the product, by Sidney R. Kent.
- 10. Advertising motion pictures, by
Robert H. Cochrane. - 11. Theatre
management, by Samuel Katz. - 12.
The motion picture and vaudeville,
by Marcus Loew. - 13. Reminiscences
and observations, by William Fox. -
14. Future developments, by Harry
M. Warner.
KENNEDY, Margaret
The Mechanised Muse.
London, Allen & Unwin, 1942.
(P. E. N. Books).
Mcchamsovana mma. (La musa mec-
canizzata).
Praha, CsFN, 1947, pp. 82, 8.
Trad, di J. Maranova.
KIESLING, Barrett C.
Talking Pictures; how they are ma-
de, how to appreciate them,
Richmond, Johnson Publ. co., 1937,
pp. 332, all.
Sornmario i. Motion picture appre-
ciation. - 2. History of motion pic-
tures. - 3. A singleminded commu-
nity. - 4. Dreams wanted. - 5. The
story is selected. - 6. Why stories
are changed. - 7. The scenario wri-
ter. - 8. Motion picture research. -
9. The sets are made. - 10. Proper-
ties. - ii. Costuming the picture. -
12. Strange jobs. - 13. The casting
director. - 14, Stars. - 15. Making
folks over. - 16. The director. - 17.
The stage is^set. - 18. Lights! Ca-
mera!)). - 19. Going in locations,
- 20. Sound recording. - 21 Music
in pictures. - 22. Editing the film. -
23. Developing the film. - 24. Social
influences. - 25. The short subject. -
26. In home and school. - 27. The
road ahead.
KNUDSEN, Poul
Film.
Kobenhavn, Det Schonbergske For-
lag, 1939, PP- 4S, 8<>.
KORMENDY, Ekes Dr. L.
A mozi. (II cinema).
Budapest, Singer & Wolfner, 1915.
KOZMA, Sandor
A mozgofenykdp. A kinematografia
fejlodese, Unyege es jelentosege. (II
cinema. Sviluppo, essenza e impor-
tanza del cinematografo) .
Kaposvar, 1911.
KUNTE, Joseph
Das Kino. Ein Mahn- und Warnruf
an Eltcrn und Jugend.
Klagenfurt, Carinthia, 1919, pp. 31.
(Volksaufklahrung, nr. 199).
LAMBERT, R. & LEJEUNE, C. &
ROTHA, P. & BUCHANAN, A. 6
FIELD, M.
For Ftlmgoers only - The Intelligent
21
Filmgoer's Guide to the Film.
London, Faber & Faber, 1934, PP
98, 80.
LANOCITA, Artam
Cinema, fabbrica di sogni. (La vita
del cinema narrata ai ragazzi).
Milano, Signorelli, 1950.
LARSEN, Egon
Spotlight on Film. Prefazione di Sir
Michael Balcon.
London, Max Parrish and Co., 1950,
pp. 301, 8.
LEFOL, Gaston
Cinema.
Paris, Massin, 1912, tav. 36.
LEGA, Giuseppe
II fonofilm. L'arte e la tecnica della
cinematografia sonora e parlata.
Firenze, Nemi, 1932, pp 64, ill., 8.
LEHMANN, Hemrich
Die Kinematographie, Ihte Grund-
lagen und ihre Anwendungen.
Leipzig, Teubner, 1919, pp. 117, ill. 60
(Aus Natur und Geisteswelt, Bd 358),
LEJEUNE, C. & ROTHA, P. & BU-
CHANAN, A. & FIELD, M. & LAM-
BERT, R,
For Filmgoers Only - The Intelligent
Filmgoer's Guide to the Film.
London, Faber & Faber, 1934, pp.
98, 80.
LEMKE, Hermann
Die Kinemato graphic der Gegenwart,
Vergangenheit und Zitkunjt.
Leipzig, Demm-e Verlag.
LEONHARD, Rudolf
Bemerkungen zur Aesthetik und So-
zwlogie des Films. 1920
LEPROHON, Pierre
Les mille et un metiers du cinema.
Paris, Ed Melot, 1947, pp. 332, ill., 8
LESCARBOURA, Austin Celestin
Behind the Motion Picture Screen.
Scientific American Publ. Co., 1919,
pp. 420, ill.
LEYLAND, Eric & JACKSON - WR1-
GHLEY, M.
The Cinema; Historical, Technical
and Bibliographical
(vedi Jackson-Wrigkley. M.).
LEWIS, Ricfcard & RAND, Helen
Film and School; Handbook in Mo-
ving-Picture Evaluation; with the
advice and counsel of Edgar Dale
and Sarah Me Lean Mullen
New York, Appleton-Century, 1937,
PP 196, ill
(National Council of Teachers of En-
glish publication).
Sommario : i. Moving pictures, a so-
cial and educational force. - 2. How
moving pictures interpret life. - 3.
The people who make moving pic-
tures. - 4 Rating scales, reviews,
and criticism. - 5. Moving picture
clubs. - 6. More to be done.
LIESEGANG, F. P.
Das lebende L^chtb^ld. Entwicklung,
Wesen und Bedeutung des Kinema-
tographen.
Dusseldorf, Liesegang, 1910, pp. 68.
ill- 53-
LINDGREN, Ernest
Phe Art of the Film. An Introduc-
tion to Film Appreciation.
London, Allen and Unwin, 1948, pp.
242, ill.
MANVELL, Roger
Film.
London, Penguin Books, 1944, pp.
192, ill., 16.
2 a ed. : Penguin Books, 1946. (Rive-
duta e aumentata).
3 a ed. : Penguin Books, 1950, pp.
288, ill. 240.
A Seat at the Cinema.
London, Evans Brothers, 1951, pp<
192, ill., tav. f. t. 17.
MARSTON, William M. & PITKIN,
Walter B.
The Art of Sound Pictures.
New York, London, D. Appleton &
Co., 1930, pp. 287.
MINNEY, R. J.
Talking of Films.
Home and Van Thai, 1947.
MOGENSEN, Harald
Filmproblemer. (Problerni del film)
Kobenhavn, Nyt Nordisk Forlag,
1940, pp. 113, 8.
MORIS, Roger
Le cinema.
Montpellier, 1930.
MOUSSINAC, Leon
Naissance du cinema.
Paris, J. Povolosky e C.ie, 1925, pp-
178, 8.
Panoramique du cinema.
Paris, Ed Au Saus Pareil, 1929, pp,
148, ill. So, 8.
NANNI, A.
Tecnica e arte del film.
Milano, 1931.
NEERGARD, EWbe
Filmkundskab - En Instruction.
22
Kobenhavn, Nor disk Forlag, 1952,
pp. 144.
NEUMANN, Carl & BELLING, Curt &
BETZ, Hans Walther
Film-Kunst , Film-Kohn, Film-Kor-
ruption. Ein Streifzug durch 4 Film-
Jahrzenhte.
(vedi Belling, Curt).
NOAK, Victor
Das Kino. Etwas ubet sein wesen und
seine Bedeutung.
(Kultur u. Fortschritt, 487/88).
Leipizig, Dietrich, 1913, pp. 31.
NOBRE, Roberto
Horizontcs de cinema.
Lisboa, Guirnaraes & C., 1939, pp. 250
NOWAK, Karl Jos.
Wie kotnme ich sum Film? Was
imiss ich vom Film -wissenf
Antworten auf alle Fragen, die den
Film betreffen.
Wien, Selbstverlag, Druck F. Horo-
witzky, 1936. pp. 87.
ODENCRANTS, Arvid
Den modetna kmematografien. (La
cinematograf la moderna) .
Stockholm, 1926.
O' LAOGHARIE, Liam
Invitation to the Film.
Tralee (Ireland), The Karryman,
IQ45
Sommario The setting - Traditions -
Craftmanship - Documentary - Tri-
butary cinema - Film at school - To-
ward the Irish film - Appendices (Bi-
bliography - Glossary of terms.).
OPFERMANN, H. C.
Die Geheimmsse des Spielfilms. Ein
Buck filr Filmei und Leute, die gem
Ins Kino gehen.
Berlin, Photokmo-Verlag Hellmut
Eisner K.-G., 1938, pp. 76.
I misteri del film.
in : Bianco e Nero , Roma, V, 10,
ottobre 1941.
Traduzione parziale di Vincenzo Bar-
toccioni.
PATHE, Theophile
Le cinema.
Paris, Ed. Correa, 1942, pp. 189.
PERES, B- S.
Skolno-ucebnyj film.
Moskva, Kinofotoizdat, 1935, pp.
279, 8.
PERLMAN, William J.
The Movies on Trial: The views and
opinions of outstanding personali-
ties anent screen entertainment.
New York, Macmillan, 1936, pp. 266
PETR, Jaroslav
Kinematograf.
Praha, Vihmek, 1921, pp 48, 8.
PHILLIPS, Henry Albert
The Feature Photoplay ; a complete
and constructive treatment of the
photodrama's most profitable and
most permanent form, from begin-
ning to end ; a practical treatise toge-
ther with new-method casts, a seven-
part synopsis and portions of work-
ing scenarios, interpolated with co-
pious examples and arranged with a
view to its use as a text-book for in-
dividual or class room study.
Springfield, The Home Correspon-
dence School, 1921, pp. 285, ill.
The Photodrama; the philosophy
of its principles, the nature of its
plot, its dramatic construction and
technique, illumined by copious
examples, together with a complete
photoplay and a glossary, making
the work a practical treatise ; with an
introduction by J. Stuart Blackton
(The authors ' handbook series).
Larchmont (N. Y.), The Stanhope-
Dodge Publ. Co., 1914, pp. 221.
PHOTOPLAY RESEARCH SOCIETY,
LOS ANGELES. Bureau of Voca-
tional Guidance.
Opportunities in the motion picture
industry and how to qualify for po-
sitions in its manv branches.
Los Angeles, The Society, 1922,
vol. 3, ill.
Sommario Vol. I i. Imagina-
tion - 2. The morals of the movies,
by the editor - 3. The romance of
the screen, by James R Quirk - 4
A day in the studios, by David
Strong - 5. Can I appear on the
screen? by Bert Lytell - 6. Are you
a screen personality? by F. A. Datig
- 7. Your opportunity in motion
picture, by Thomas H. Ince - 8. How
the casting director selects faces,
forms, and types, by Robert B.
Mclntyre - 9. How they broke in, by
the editor - 10. Sudden stars, by
Rob Wagner - n. Motion picture
salaries : what players really get, by
Alfred A. Cohn 12 Pickfordisms
for success , interview with Mary
Pickford - 13. Are producers really
23
trying to elevate the screen?, by Ar-
thur James 14. Censorship : will
it solve the problem ? by Rupert Hu-
ghes - 15. Financing motion pictu-
res, by Motley H. Flint - 16. The
truth about Hollywood, by Rev,
Neal Dood.
Vol. II: The new way to enter
pictures, by Roy L. Manker - 2.
Writing the scenario: its cycles of
evolution by Frederick Palmer - 3.
Functions of editorial dept., by
Frank E. Woods - 4. Functions of
continuity writer, by Jejanie Mac-
pherson - 5. Writing the original
story, by H. H. Van Loan - 7. Writ-
ing the titles, by Katharine Hilliker
- 8. Breaking into the publicity end
of pictures, by Adam Hull Shirk -
9. Duties and qualifications of sce-
nario reader, by Kate Corbaley -
10. Screen Writers Guild, by Alfred
Huswick - ii. Industrial motion
picture, by Watterson R. Rothacker
- 12. The child's opportunity, by
Mrs. John Coogan - 13. Making
musical adaptations, by Joseph Carl
Breil - 34. Screen cartoons : how
they are made, by Sidney Smith -
15. The studio research dept: who
is qualified to enter this service"?
by Leroy Armstrong - 16. The first
shot made in Hollywood (Chri-
stie Studios, Oct. 27, 1911) - 17. My
success secret, by Douglas Fairbanks
- 18. Distributing motion pictures,
by J. D. Williams - 19. The pro-
duction manager, by Clark W. Tho-
mas - 20. <c The four horsemen of
the Apocalypse .
Vol. Ill i. Acting for the screen
six great essentials, by Marshall
Neil an - 2. The woman makin up
for the screen, by Mary Alden -
3. The man making up for the
screen, by Raymond Hatton - 4.
Directing the pictures, by Rex In-
gram - 5. The assistant director,
by Scott R. Beal - 6. The camera-
man; how he may break, by John
J. Paul Goode - 19. A prediction, by
Shirley Vance Marti - 8. The art di-
rector, by Max Parker - 9. Art titles,
by Loren E. Taylor - ro. The motion
picture laboratory: how it operates,
by Lewis W, Physioc - n. The film
editor : his training and qualifica-
tions, by Del Andrews - 12. Design-
ing clothes for movie folk, by Edith
Clark - 13. The property man, by Ray
Chrysler - 14. The location man, by
Lou Strohm - 15. Operating a pro-
jection machine : pratical advice for
theatres, churches, schools and clubs ,
by Earl Hamilton - 16. The exhibi-
tors' opportunity, by Sid Grauman
- 17. Distributing pictures on the
state rights basis - 18. Scope and
outlook of visual education, by Prof
J. Paul Goode - 19. A prediction, by
the editor.
PITKIN, Walter & MARSTON William
M.
The Art of Sound Pictures.
New York, London, D. Appleton &
Co., 1930, pp. 287, ill.
POLAK, Josef
Lacine Filmovani. (Film a buor*
mercato).
Praha, Vesmir, 1941, pp. 98, 8.
PORDES, Viktor
Das Ltchtspiel. Wesen, Diamatut-
gie, Regie.
Wien, Lechner, 1919, pp. 161.
PORGES, Friedrich
Fiinfzig Meter Kmoweisheit. Aus der
Werksstatt eines Erfahrenen uber
Filmdichtung, Filmregie, Filmauf-
nahme u. Filmdarstellung.
Wien, Harbauer, 1919, pp. 87.
Mein Filmbuch. Vom Film, vom
Ton film, von Filmstars, und von
Kinemalographie .
Wien, Mein Film Verlag, 1933.
i a ed. : 1926; 2 a ed. : 1931.
PREIS, Max
Kino.
Bielefeld, Velhagen und Klasing,
1929. 3 a ed.
PRYOR, William Clayton & PRYOR,
Helen Sloman
Let's go to the Movies.
New York, Harcourt, Brace, 1939,,
pp. 186, ill.
RAND, Helen < LEWIS, Richard
Film and School; a handbook on
moving-picture evaluation.
(vedi : Lewis, Richard.)
REED, Stanley
The Cinema.
London, E.S.A., 1952, pp. 122.
Role intellectual du Cinema (Le)
Pans, Socite des Nations, Institut
International de Cooperation Intel-
lectuelle, 1937, pp. 267.
Contiene scritti di Aboucaya Mar-
24
eel, Allport Fayette Ward, Arnheim
Rudolph, Arnoux Alexandra, Barba-
ro Umberto, Cavalcanti Alberto,
Disney Walt, Faure Elie, Morkovm
Boris, Pabst G. W., Rotha Paul,
Jahier Valerio (vedi).
Various aspects of the cinema are
discussed by authorities from several
countnes.
New York, Columbia University
Press, 1937, pp. 289.
ROTHA, Paul
Celluloid; The film to-day.
London, New York, Toronto, Long-
mans Green and Co., 1931, pp. 259,
ill.
Documentary Film. Prefazione di John
Grierson.
London, Faber & Faber, 1936, pp.
272, ill. 63, 8, 2 a ed. : 1939.
ROTHA, P. & BUCHANAN, A. &
FIELD, M. & LAMBERT, R, &
LEJEUNE, C.
For Fiimgoers only - The intelligent
Fdmgoer's Guide to the Film.
London, Faber & Faber, 1934, pp.
98, 8.
SADOUL, Georges
Le cinema. Son art, sa technique,
son economie.
Paris, La Bibliotheque Francaise,
1948, pp. 224, ill 26.
II cinema.
Torino, Einaudi, 1949, pp. 278, 8.
SCHEINPFLUG
Povaha kinematografickeho dila. (Ca-
rattere dell'opera cinematografica).
Praha, Pravmk, 1944, pp. 287.
SCHROUBECK, Richard
Der Film. Seine Herstellnng, Ver-
werdung, und Bedeutung.
Prag, Dt. Verein zur Verbreitung
gememnutziger Kenntnisse, 1922,
pp 22.
SCHUMANN, W.
Kino und Film von heute,
Munchen, Callwey, 1924, pp. 31.
(1914 Flugschrift des Durerbundes).
SCHWEIZERISCHEN FILMARCH1V
Der Film. \Vwts chafthch, Gesellschaf-
tlich, Kunstlerisch.
Herausgegeben von Schweizerischen
Filmarchiv, G-eorg Schmidt, Werner
Schmalenbach, Peter Bachlin, H. Ei-
denbenz.
Basel, Holbein-Verlag, 1947, pp. 160,
tav. 64.
SMRZ, Karel
Film.
Praha, Prometheus, 1924, pp. 354, 8<>
SPENCER, D.A. & WALEY, H.D.
The cinema today.
Oxford University Press, 1939.
El cine al dia.
Buenos Aires, Editorial nova, 1946,
pp. 264, ill. 54.
STERNER, Alice P. & BOWDEN, W.
Paul
Coutse in motion-picture apprecia-
tion ; produced with the cooperation
of the Finer Films Federation of
New Jersey. Newark (N. J.) Educa-
tional and recreational guides, 1936*
pp. 61.
Sommario : i. Introduction - 2. Histo-
ry - 3. Motion-picture vocabulary -
4. Story - 5. Types of motion pictu-
res - 6. Acting - 7. Director - 8. Sets
- 9. Sound and music - 10. Photo-
graphy - ii Seeing a motion picture
- 12. Value of motion picture.
TIMMLING, Walter & ULRICH, Her.,
mann
Film, Kitsch, Kunst, Propaganda.
Oldenburg, Schulzesche Vlgsbuch-
hdg., 1933, PP. 62.
(Bd i. Der Damm. Oldenburger
Schriften).
VAN ZILE, Edward S.
That Marvel - the movie. A glance 1
at its reckless past, its promising
present, and its significant future.
Tntroduzione di Will H. Hays.
London, New York, Putnam's Sons,,
1923, pp. 299, 8-
VERDONE, Mario
II documentario.
in . Bianco e Nero , Roma, XIV,,
2, febbraio 1953.
VETTER, Adolf & SCHUMANN,
Wolfgang
Kinofragen der Zeit,
Munchen, Callwey, 1924, pp. 41.
(Durerbund Flugscrift zur Ausdru-
kultur, 194).
Sommario : Vetter Das Filmdrama
als Kunst typus - Schumann Kino
und Film von Heute .
VIGNEAU, Aadre
Le cinema.
Le Caire, Les Lettres Francaise, 19,,
pp. 130, ill. 46.
VILLEGAS LOPEZ, Manuel
El cine.
25
Buenos Aires, Editorial Atlantida,
1945-
VOLTO DEL CINEMA
Roma, Editrice A. V. E., 1941, pp.
381.
Contiene scritti di * Basari, Cannes-
sa, Chili, Covi, Fabbri, Gedda, Laz-
zarini, May, Meneghini, Zaccagni-
ni. (vedi).
VRIESMAN, D.
Film.
Amsterdam, Contact, 1938, pp. 188.
WALEY, H. D. & SPENCER, D A.
The Cinema today.
El cine al dia (vedi Spencer D. A.)
WEAD, Frank W.
All about Motion Pictures.
Nelson, 1938, pp 68.
(Our Changing Times Ser , in Basic
English) .
WELSH, Robert E.
A-B-C of Motion Pictures.
New York, Harper, 1916, pp 13 1,
ill.
(A-B-C series).
WESSE, Curt
Grossmacht Film. Das Geschopf von
Kunst und Technik.
.Berlin, Deutsche Buchgememschaft,
1928, pp. 311, ill. 48.
(WINCHESTER, Clarence Arthur
Charles) a cura di
The Woitd Film Encyclopedia; a um-
vetsal screen guide , fully illustrated
with art plates of stars, players, stu-
dios, scene, theatres and maps.
London, Amalgamated Press, 1933,
pp. 512, ill.
Sommario How film began, by
William Friese-Greene. - The art of
make-up, by Max Factor. - Over 1000
film biographies (Gives sketchy bio-
grapnies, and lists films and pro-
ducing company. Divided into pla-
yers, directors, and other important
personalities) - Ways to film success
by Ronald Colman, Barbara Stan-
wyck, Harold Huth, Gwili Andre,
Richard Arlen, Molly Lamont - Pla-
yers' addresses - The scenario, by
John Paddy Carstairs - Casting, by
Nathalie Buchnall - Film directing,
by Ernst Lubitsch - Art direction,
by O. F. Werndorff - Camera work,
by Curt Courant - Sound recording,
by Otto Ludwig - Men and money
by J. V. Maresca - Film editing,
behind moving pictures, by Ma-
ckenzie Winter - News on the screen,
by J. Smith-Ross - Interesting facts
about films - Dictionary of film
terms.
WOLF-CZAPEK, K. W.
Die Kmematogtaphte. Wesen, Ent
stehung und Ziele des lebenden
Bildes.
Berlin, Union, 1911, pp. 135, ill. 46,
2 a ed.
WOLLEMBERG, Hans H.
Anatomy of the Film: an illustrated
guide to film appreciation, based on
a course of Cambridge University
extension lectures. Prefazione di Oli-
ver Bell.
London, Marsland Publications, 1947.
pp. 104, ill. TOI.
ZEHDER, Hugo (a cura di)
Der Film von morgen.
Berlmfi Dresden, Kaemrnereverlag,
1923, pp. 165.
26
CAPITOLO II
La storiografia
A. - TRATTATI E STUDI Dl STORIA
In questo capitolo sono classificati
A) i trattati e studi di storia generate, di penodi quest'ultima, e di stona
nazionale, concepiti secondo metodi diversi di ordmarnento della materia; che
trattino 1'argomento da un pun to di vista generate (contemporaneamente artisticOj
tecnico, economico ecc.), oppure si hmitino a svolgere prevakntemente un singolo
aspetto (storia economica, storia della tecnica, e cosl via).
B) i saggi o articoli monografici dedicati ad un argomento piu ristretto,
quale per esempio 1'opera o la figura di un regista, un avvemmento, come la
scoperta del sonoro, la creazione di un genere, o anche temi piu limitati.
C) i lavori biografici, le memorie e i ricordi aneddotici, nei quali prevale
nn intento informativo, un carattere di testimonianza personale, vivenie, pittoresca
D) le biografie di atton , opere e contributi diversi di carattere analogo a
quello del paragrafo precedente, ma riguardanti esclusivamente gli atton. Sono
stati classificati a parte per comodita di consultazione e per il prevaknte carattere
informativo e a volte anche di pubblicita personale.
L'HISTORIOGRAPHIE
Dans ce chapitre sont classes :
A) les traites et etudes d'histoire generate, de periodes de cette dernier e
et d'histoire nationak concus selon des methodes diverses d'organisation de la
matiere; qu'ils traitent 1'argument d'un point de vue general (dans le menie temps
artistique, technique, economique, etc.) ou se hmitent a developper specialement
un seul aspect (histoire economique, histoire de la technique et amsi de suite).
B) les 6tudes ou articles monographiques dedies a un argument limit^, par
exemple, 1'oeuvre ou la figure d'un realisateur, un evenement, la dcouverte du
sonore, la creation d'un genre ou a des themes encore plus restreints.
C) les travaux biographiques, les memoires et les souvenirs anecdotiques
dans lesquels prevalent une intention informative, un caractere de temoignage
personnel vivant, pittoresque.
D) les biographies d'acteurs : 6crits divers d'un caract&re analogue a celui
du paragraphe pr6c6dent mais regardant exclusivement les acteurs. Us sont clas-
sifies a part pour la commodite de la consultation et en raison d'un dessein spe"-
cialement informatif cotoyant parfois le ton de publicit6 personnelle.
27
HISTORIOGRAPHY
The works classified in this chapter are:
A) treatises and studies on general history, periods thereof and national
history compiled in compliance with different methods as regards the arrangement,
of the subject-matter, according to whether they deal with history from a general
point of view (artistic, technical, economic and so on at one and the same time)
or concentrate mainly on one special aspect thereof (history of economy, history
of technique and so on).
B) essays or monographic articles devoted to a more restricted subject such
as, for instance, the work or personality of a film director; an outstanding event
such as the discovery of the sound film, the creation of a style or even more
limited subjects.
C) biographies, memoirs and anecdotes in which the intention of supplying
information in the form of a personal, living and picturesque testimony pre-
dominates.
D) actors' biographies, sundry works and contributions similar in type
to those contemplated in the preceding paragraph, but relating exclusively to
actors They have been classified separately to facilitate consultation and also*
because of their essentially informative nature, which sometimes borders on
personal publicity.
AKUSCKOV, Shu & ATASCEVA, Pera
Souieskoe Kinoiskusstuo. (L'arte ci-
nematografica sovietica) .
Moskva, Goskinoisdat, 1940, pp. 270,
ill.
Prefazione di S. M. Eisenstein.
ALLBERG, Ragnar & 1DESTAM-ALM.
QUIST, Bengt
Film i gar, i dag, i morgen. (Film
ieri, oggi, domani).
Stockholm, Bonnier, 1932, pp. 175,
Vid den svenska filmens vagga.
(Davanti alia culla del film svedese)
Stockholm, 1936, pp. 177 ,ill.
ALLIGHAM, Garry
The romance of the talkies. Prefa-
zione di Ronald Colman.
London, Claude Stacey, 1929, pp. 104,
ill.
ALTMAN, Georges
Le cinema russe.
in L'Art Cin^matographique , vol
VIII (vedi in cap. I).
ANOSCENKO, N. D.
Kino -v Ghermanii. (II cinema in
Germania).
Moskva, Kinopechat, 1927, pp. 272,
ill.
Svuciasciaia filma v SSSR i sa gram-
zei. (II film sonoro nell'U.R.S.S. e
all'estero).
Moskva, 1930.
ARISTARCO, Guido
Storid delle teoriche del film.
Torino, Einaudi, 1951, pp. 296, ill. 28.
ARNOLDI, E.
Istonia Kino. (Storia del cinema).
Leningrad, Krupskaya Institute^
1940, pp. 92.
AROSEFF, Aleksandr lakovlevich
So-uietskoi kino. (II cinema sovietico]
Moskva, Voks, 1937, pp. 312, i\\
300, 4.
Le cinema en U.R.S.S.
Moscou, Voks, 1936, pp. 312, ill
300, 4.
Soviet Cinema.
Moscow, Voks, 1951, pp. 312, ill.,
300, 40.
ARTIS, Pierre
Histoire du cinema amfaicam. 1926-
1947. Prefazione di J. G. Auriol.
Paris, D'Halluin, 1947, pp. 184, ill.
32.
ATASCEVA, Pera & AKUSCKOV, Sh.
Sovietskoie Kinoiskusstvo. (L'arte ci-
nema tografica sovietica) .
(Vedi Akusckov, Sh.).
BAECHLIN, Peter
Der Film als Ware.
Basel, Burg Verlag, 1945, pp. 252.
Histoire gconomique du cinema.
Trad, di M. Miiller-Strauss.
28
Paris, Nouvelle Edition, 1947, pp.
208, 16.
fiALCON, Michael & HARDY, Forsyth,
& LINDGREN, Ernest & MANVELL
Roger
Twenty Years of British Film. (1925-
1945)-
London, The Falcon Press, 1947,
pp. 116, ill. 100.
fiARDECHE, Maurice & BRAS1LLACH
Robert
Histoire du cinema.
Paris, Denoel et Steele, 1935, pp
419, ill. 61.
2 a -ed. : 1943 ; 3 a ed. : Paris, Andre"
Mattel, 1948, pp 572, ill. 142, 8.
History of the Film.
London, Allen and Unwin, 1938,
2 a eel. . 1945.
The History of Motion Pictures.
New York, W W. Norton and Co.,
1938, pp. 410.
Trad, di Iris Barry.
Toronto, George J. McLeod, 1938.
Histoire du cinema. I ; Le cinema
muet.
Paris, Mortel, 1953, pp. 408.
BESSY, Maurice & LO DUCA, Joseph
Marie
Cinquante am de cinema. (Cine'ma
44) Prefazione di Marcel Pagnol.
Pans, S.O S-, 1944, pp. 24, ill. 55, 8<>.
BIRD, John H.
Cinema Parade: fitfy years of film
shows.
Birmingham, Cornish, 1947.
BLASETTI, Alessandro & RONDI, Gian
Luigi
Cinema italiano, oggi.
Roma, Bestetti, 1950, pp 224, ill.
500
Sommano Zavattini Cinema italia-
no, dornani - Blasetti : Cinema italia-
no, ieri - Rondi Cinema italiano,
oggi - Carancini e Rondi. Gli inter-
pret! - Meccoli : Documentari e cor-
tometraggi - Marinucci e Rondi : Gli
stranieri in Italia - Giannelli : Cine-
ma italiano in numeri - Verdone : Bi-
blioerafia.
BOISYVON, Andre
Le cinema francais.
in L'Att Cinematographique ,
vol VII (vedi in Cap I).
BOLL, Andre
Le cinema et son histoire.
Paris, Sequana, 1941, pp. 100, 16.
BRASILLACH, Robert BARDECHE,
Maurice
Histoire du cinema. - History of the
Film. - The History of Motion Pictu-
res.
fvedi Bardeche, Maurice).
BRUSEN0ORFF, Ove
Filmen. Dens Navne og histoire. (I
Film. I loro nomi e storia). Vol. "30:
Film ens Historie (Storia del film).
JKLobenhavn, Universal-Forlaget, 1919,
pp 446, ill. 300, 80.
CABERO, Juan Antonio
Histona del cine espanol.
CAMERON, J. R.
Talking Movies. A history of the
talking movie since 1920-1930.
New York, 1927.
CAMPASSI, Osvaldo
Dieci anni di cinema francese (1930-
1940).
Milano, Pohgono i vol. pp. 260,
ill., 8, 1948; 2 vol. pagg. 335, ill.,
8, 1949.
CANESSA, Gastone
Sintesi storica.
in Volto del cinema . (Vedi in
Cap. I).
CASIRAGHI, Ugo
Cinema cecoslovacco ieri e oggi.
Roma, Ed. Federazione Italian a Cir-
coli del Cinema, 1951, pp. 55, ill. 16.
CHARENSOL, Georges
Panorama du Cinema.
Paris, ed. Kra, 1930, pp. 232, 8
Paris, Jacques Melot, 1947, pp. 184,
ill. 72, 8<>
40 ans du cinema. (1895-1935). Pano-
rama du cinema muet et pailant.
Pans, eel. du Sagittaire, ig^s, pp- 244.
CINCOTTI, Guido & VINCENT, Carl
II cinema dalle origini alia prima
guerra mondiale.
Pnma dispensa del cc Corso di cultu-
ra cmematografica per gli alunni
delle scuole medie superiori.
Roma, Centro Sperimentale di Ci-
nematografia, 1953.
Cine: Historia illu5trada del segptimo
arte. (El)
Barcelona, Salvat Editor es, 1950.
Vol. I pp 388, ill. - Vol. II * pp.
4<j.o - Vol III: pp. 396 80.
Cinema italiano sonoro
Livorno, Federazione Italiana Circoli
del Cinema, 1950, pp 56, ill. 30, tav.
f. t. 32.
Contiene scritti di : A. Pietrangeli,
C. Lizzani, V. Tosi.
Cinema portugai'S (Le). Son his-
toire, ses artistes, ses techniciens.
29
Ses dernieres productions.
Lisboa, S.P N., 1944, pp. 24 (testi
in francese, inglese, tedesco).
Cinema svedese ieri e oggi
Roma, Pederazione Itahana Circoli
del cinema, 1952, pp. 36, ill. 16, 8.
Contiene scntti di * Rune Lindstrom
II cinema svedese - Btngt Ide-
stam-Almquist Origme del cinema
svedese: II tesoro d'Arne, II carretto
fantasma - Paolo Mondello Alf
Sjoberg, intirnista romantico
Hugo Wortzelius Discorso su Ing-
mar Bergman
Cinema ungherese ieri e oggi
MilanOj Federazione Itahana Circoli
del Cinema, 1950, pp. 55, ill.
Contiene scritti di G. Sadoul, V.
Pudovkm, U. Barbaro, G. Viazzi, B.
Batazs, R. Renzi, V. Tosi.
COISSAC, G. M.
Histoire du cmematographe de ses
engines a nos jams.
Prefazione di J. L. Breton.
Paris, Gauthier-Villars, 1925, pp.
604, 8.
CONTE, Luigi
II film svedese dall'avvento del so-
noro ad oggi.
in: Bianco e Nero , Roma, X, i,
gennaio 1949.
CRAPOUILLOT (Le). Numcro special:
Histoire du Cinema.
Paris, novembre 1932, pp. 34, ill., 4.
Riprende articoli dai numeri prece-
denti (vedi in Cap I) e moltre
Lang : Le cinema francais - Fayard :
Le cinema americam - Cheronnet :
Le cin6ma allemand - Moussmac
Le cinema sovietique.
DAHLIN, Turc
Le cinema nordique.
in <c L'Art Cinematographique ,
vol. VIII.
/Vedi in Cap I).
DATEN ZUR GESCHIGHTE DES LE-
BENDEN LICHBILDES. (bis 1923)
Berlin, Lichtbild Buhne, 1925.
DAY, Wilfred E. L.
25.000 Years to trap a Shadow; the
Birth and biographical History of
Moving Pictures.
London, Will Day, 1933, pp. 32.
DEL AMO, Antonio
Historic, Universal del Cine.
Madrid, Editorial Plus Ultra, 1945,
pp 423, ill., 80.
DE LA ROCHE, Catherine & DICKIN-
SON, Thorold
Soviet Cinema.
London, The Falcon Press, 1948, ill
150, 4-
DE MADRID, Francisco
Cincuenta anos del Cine.
Buenos Aires, Nova, 1946.
DE ROOS, Elisabeth
Fiansche Pilmkunst. (Arte cmema-
tografica francese)
Rotterdam, Bruss's Vitgeversmaat-
schapprj, 1931, pp 60, ill. 32.
DINAMOV, S.
L'art cinematographiques de la Rus~
sie Blanche sovietique.
m: Le Cinema en U.R.S.S. di A,
Aroseff (vedi).
DOST, Wilheim
Geschichtt der Kinematogtap-hie.
Halle, Knapp, 1925, pp. 5 1 -
DZUNI, D.
(Died anni di cinema armeno).
Envan, GIZ, 1935, PP- 68 -
EISNER, Lotte H.
L'ecran demomaque. Panorama dif
cine'ma allemand.
Paris, Andre Bonne, 1952.
ENGBERG, Harald
Filmen. Filmen som den i)&r, som
der t'r, som den kunde vaere.
(II film quale era, quale e, quale po-
trebbe essere).
Kobenhavn, Forlaget Fremad, 1939*
pp 208, ill , 8.
ERIOMIN, D. (a cura a)
30 let sovietski Kinematogiafti (30
anni di cinema sovietico).
Moskva, Goskmoisdat, 1950, pp. 403-
FERENCZY, Tibor
A mozielet rejtelmeibol. (II film d'ar-
te russo).
Budapest, ed. Borbely Gyula, Mezo-
tur, 1921.
FERNANDEZ CUENCA, Carlos
Historia del cine.
Madrid, Afrodisio Aquado ; (6 volu-
mi) , di cui pubblicati
Vol. I : La Edad Heroica , pp.
439, ill., So, 1948
Sommario : r a parte . Vemte mil anos
de illusion - 2 a parte* Los Bunda-
dores (1896-1900) - 3 a parte : La Lu-
cha por la Expresion (190-1908).
Vol II Nacimiento de iw arte ?
pp. 4^1, ill., 80, 1949.
Sommario : i a parte : El Camino de
los Sonadores - a a parte : La Hora
Crucial - 3 a parte Formacion de los
Estilos.
Voll. Ill e IV: tuttora inediti.
30
Vol. V La Liiz se hizo Verbo ,
pp 560, ill., 400, 80, 1950.
Sommano : i a parte . La Sorpresa de
la Palabra - 2 a parte Consolida-
cion - 3 a parte . La Nueva Babel
Vol. VI tuttora inedito.
Viejo cine en episodios
Madrid, Ed Rialto, 1943, pp 334, 8.
FERRKPISANI
Le cinema amencain.
in L'Art Cmematographique
vol VII. (Vedi in Cap I.).
FILM EGYPTIEN (Le) 1927-1951
Le Caire, Dar-Hilai, 1951, pp. 36,
ill.
FLOREY, Robert
Histoite du cinema amencain,
Preface de Rene Clair. Pans, 1948.
FORCH, Karl
Dei Kineniato graph und das sich 'be-
wegende Film. Geschichte und Tech-
nische Entwiklung der Kinematogra-
phie bis zur Gegenwart.
Wien, Leipzig, A. Hartleben, 1913,
pp 240, ill. 154.
FORD, Charles & JEANNE, Rene
Histohe encyclopedique du Cinema.
Vol. I : Le Cinema Francais, 1895-
IQ2Q.
Paris, Robert Laffont, 1947, pp. 518,
ill.
Vol II- Le Cinema Muet, 1895-
1929.
Pans, S.E.D.E., 1953, pp, 565 ill.
FOSTER, Robert Bruce (a cura di)
Hopwood's Living Pictures.
London, 1915.
FRANK, Nino
Cinema dell'Arte. Panorama du film
italien.
Paris, Editions Andre Bonne, 1951.
FULOP-MILLER, R.
Motion Picture in America. A history
in the making.
in : The American theatre di
John Anderson.
New York, The Dial Press, 1938.
Fiinfundzwanzig Jahre {Cinematograph
Berlin, Aug. Scherl, 1931, pp. 88,
ill.
GARDIN, V.
Pervie godi sovietscovo kino. (II pn-
mi anni del cinema sovietivo).
in : Sovietscoe kino , Moskva 1934.
GASCH, Sebastian
Las etapas del cine.
Barcelona, Ins. Transoceanico de Ed.
S. L., 1948, pp. 181, ill., 80.
GHELLI, Nino
Sommatio di storla del cinema.
Roma, Edizioni Universitarie Socia-
li, 1951
11 cinema dalla prima guena mon-*
diale alia nascita del sonoro.
Corso di cultura cinematografica per
gli alunni delle scuole medie supe-
riori.
Roma, Centro Spenmentale di Ci-
nematografia, 1953
GHIONE, Emilio
Le cinema italien.
in* L'Art Cmematographique >
vol. VII.
(Vedi Cap I).
GRAU, Robert
The theatre of science; a 'volume of
progress and achievement in the mo-
tion picture industry.
New York, Broadway Publising Co.,
1914, pp. 378, ill-
GREGAARD, Paul & LANGSTED*
Adolf
Film ens Eventir.
(Vedi Langsted, Adolf).
GREGOR, Joseph
Der Zeitalter des Films.
Wien, Reinhold Verlag, 1932, pp. 223,,
ill. 230.
(Klein e Historische Monographic^
n. 37).
GRIFFITH, David Wark
History and Development of Motion
Pictures.
m : Mentor Magazine , luglio 1931.
GRIFFITH, Richard & ROTH A, Paul
The Film Till Now . a survey of world
cinema. With an additional section
by Richard Griffith.
London, Vision Press, 1949, pp. 785^
ill. 172.
HALE, Bryant & PETERSON, Marce-
lene & TAYLOR, Deems
A Pictorial History of the Movies.
(vedi Taylor, D.).
HAMPTON, Benjamin Boles
A History of the Movies.
New York, Covici, Friede, 1931, pp-
436, ill.
London, Noel Douglas, 1932, pp. 456,.
ill., 8.
HARDY, Forsyth & BALCON, Micheai
& MANVELL, Roger
Twenty Years of British Film. (1925-
1945)*
(vedi Balcon, M.).
HAYS, Will H.
See and Hear- a brief history of mo~
31
Hon pictures and the development of
sound.
New York, M.P P.D.A., 1929, pp. 63,
ill.
BEINEMANN, Franz
Der Film in der Schweiz.
Zurich, Uto-Film, 1924, pp. 15.
(Volswirtschaftl, zeitgenoss. Anregun-
gen, H. i).
HELD, A. & RADO, L & LANYI,
Dr. V.
A 25 eves mozi. A magyar kinema-
tografia negyedszados tortenete. (25
anm di cinema. I 25 anni della cine-
matografia ungherese).
Budapest, 1920.
HENDING, Arnold
Sfyernci i Glashuse. Et causeri ovei
40 Hars Film. (Stelle nella serra;
Un discorso su 40 anni di cinema)
Kobenhavri, Winkelmanns Forlag,
1936, pp. 231, ill., 4.
History of the Motion Picture (1895-
1946) and Documentary Film (1922-
1945) . Foreword by Iris Bawy & Ar-
thur Rosenheimer. New York, Mu-
seum of Modern Art, National Film
library, 1947.
HOPWOOD, Henry Vaux
Living Pictmes; their history, photo-
production and practical working;
with a digest of British patents and
annotated bibliography.
London, Optician and photographic
trades review, 1899, pp. 275.
Hopwood j s Living Pictures; their
history, photo-production and practi-
cal working] with classified lists of
British patents and bibliography; by
R. B. Foster, new ed. rev. and enl
London, The Hatton Press, 1915, pp.
3^7i HI-
HOYER, Th. B. F.
Riissische Filmkwist. (Arte cinema-
tografica russa).
Rotterdam, Brusse's Uitgeversmaat-
schappij, 1932. pp. 84, ill 90.
JDESTAM-ALMQUIST, Bengt & ALL-
BERG, Ragnar
Film i gar, i dag f i morgen.
Vid den svenska filmens vagga.
(vedi Allberg, R.).
JACOBS, Lewis
The Rise of American Film. A criti-
cal history.
Prefazione di Iris Barry.
New York, Harcourt, Brace and Co.,
I939> PP- 586, ill 48.
L J avventurosa storia del cinema ame-
ricano. Trad. G* Guidi, Torino, Ei-
naudi, 1952, pp. 708, ill. 62.
JAHIER, V.
42 ans de cinema.
in: Le R61e Intellectuel du Ci-
nema .
Paris, Soci^te des Nations, Institut
International de Cooperation Intel-
lectuelle, 1937 (vedi in Cap. I).
JARRAT, Vernon
The Italian Cinema. Prefazione di
Roger Manvell.
London, The Falcon Press, 1951, pp.
115, ill. 92, 4.
JEANNE, Rene & FORD, Charles
Histoire encyclopedique du Cinema.
(vedi Ford C).
JEANNE, Rene
Le Cinema Allemand.
in : L'Art Cinema tographique ,
vol. VIII (vedi in Cap. I).
Le Cinema frangais.
in : Les Cinema des engines & nos
jours , a cura di Fescourt (vedi
Cap. I).
L J evolution Artistique du Cinemato-
graph e.
ibidem.
40 ans du cinema.
in : Revue des Deux Mondes ,
Paris, n. 30, 1935. ^
JEZEK, Svatopluk
Panorama ceskefoo ftlmu. (Panorama
del cinema ceco).
Praha, Ceskoslovenske filmove na-
kladatelstvi, 1946, pp. 192, 8.
JORDAAN, L. J
Dartig Jaar Film, (30 anni di film).
Rotterdam, Brusse's Utigevermaat-
shappii, 1932. pp. 80, ill. 84.
KALBUS, Oskar
Vom Wet den deutscher Filmkunst.
Althona-Bahrenfeld, Cigarettenbilder-
dienst, 1935,
i a parte : Der stumme Film, pp. 135
2 a parte Der Tonfilni, pp 136.
KATAYEV, Valentine & MACHERET,
A. (a cura di)
Soviet Cinema. Trad, di A. Fineberg.
in: USSR in construction 1938)),
n. i, gennaio 1938.
Moscow, State publishing house of
graphic arts (IZOGIZ), 1938.
KHANGIONKOV, A. A.
Pervie godi rosskoi kinopromishlen-
32
nosti. M. Vospommaria. (I primi an-
ni della produzione cinematografica
rnssa).
Isdatelstvo Iskusstvo , 1937.
KOSTER, SL
Duitsche Film-Kunst. (Arte cinema-
tografica olandese).
Rotterdam, Brussels Uitgevermaat-
happij, 1932, pp 75, ill- o.
KRAKAUER, Siegfried
From Caligari to Hitler. A psycholo-
gical history of the German Film.
Princeton. Princeton University Press,
1947, pp. 361, ill. 64.
KRESS, Jean
Histoire du cinema.
Pans, 1911.
KULLMANN, Max
Die Entwicklung des deutschen
Lichtspiel Theaters.
Kallrrmnz, Lassleben, 1935, pp. 138.
LAJTA, Andor
A tizeves magyar hangosfilm, 1931-
1941. (Dieci anni di cinema sonoro
ungherese)
Budapest, Edizione dell'autore, 1942.
A film uttotei. Az 50 eves film. (I pio-
nien del film. 50 anni di cinema).
Budapest, Edizione delPantore, 1946.
LANGSTED, Adolf & GREGAARD,
Paul
Film ens Eventir. (L'avvenlura del
film).
Kobenhavn, Nyt Nordisk Forlag,
iQiS, pp. 32, ill., 8.
LANYI, Dr. V. & RADO, I. & HELD,
A.
A ?5 ei\es mozi. A magyar kinemato-
grafia negyedszados tortenete. (25
anni di cinema. I 25 anni della cine-
matografia ungherese).
fvpfli RMd, A ).
LAPIERRE, Marcel
Les cent visages du cinema.
Paris, Ed. Bernard Grasset, 1948, pp.
716, ill 61, dis. 161.
LEBEDEV, N. A.
Ocerk istotii kino SSSR. i : Nemoe
Kino. (Lineamenti di storia del ci-
nema in U.R.S.S i : II cinema muto)
Moskva, Goskinoisdat, 1947, pp. 305,
ill 285
LEG A, Giuseppe
Cinquant'anni di cinema.
Milano, Gastaldi, 1946, pp. 112.
JLEJEUNE, Caroline Alice
Cinema : a 1 eview of thirty years'
achievement.
London, MacLehose, 1931, pp. 255, 8
LEPROHON, Pierre
Le Cinema Allemand.
in: Le Rouge et le Noir .
Paris, luglio 1928
LIESEGANG, F. P.
Zahlen und Quellen zur Geschichte
der Projektionskunst und Kinemato-
graphie.
Berlin, Deutsches Druck- u. Verlag-
shaus, 1926, pp 125.
LIKHCEV, B. S.
Kino v Rossi j. (II cinema in Russia).
Leningrad, Isdatelstvo, 1927
LO DUCA, Joseph Marie & BESSY,
Maurice
50 ans de cinema (vedi Bessy).
LO DUCA, Joseph Marie
Plistoire du cinema.
Paris, Presses Universitaires de Fran-
ce, 1942, pp. 135. ill- 8 5, 8, 3 a ed. :
IQ47
Jstona cinematografului.
Bticarest, Editura Contemporana r
1943. pp. 128, ill. 85. Trad, di D.
Gall
Storia del cinema.
Milano, Garzanti, 1951, pp in, i6.
(Cine}.
Trad, di Toshio Eito.
Tokio, Hakusnisha.
Historia do cinema.
Lisboa, Ed Europa- America.
LONDON, Kurt
Films.
in . The Seven Soviet Arts .
London, Faber, 1937.
New Haven, Yale University Press,
1938.
LOW, Rachaei & MANVELL, Roger
The History of the British Film.
(Vol. I: 1896-1906).
London, Allen & Unwin, 1948, pp.
136, ill.
LOW, Rachaei
The History of the British Film.
(Vol. II. 1906-1914).
London, Allen & Unwin, 1950.
The History of the British Film.
(Vol. Ill: 1914-1918).
London, Allen & Unwin, 1951, pp.
332, ill.
LUBSCHEZ, Ben Judah
The Story of the Motion Picture. (65
3. C. to 1920).
New York, Reeland Publ. Co., 1920,
pp. 64, ill.
MACHERET, A. & KATAYEV, Va-
lentine
33
Soviet Cinema. Trad, di A. Fineberg
(vedi Katayev, V.).
MANVELL, Roger & LOW Rachel
I he History of the British Film.
(vedi Low, R. e Manvell, R.).
MANVELL, Roger < ROTHA, Paul
Movie Pa] ode (vedi Rotha).
MANVELL, Roger & BALCON, Mi-
chad & HARDY, ForsytE
Twenty years of British Film (1925-
1945)-
(vedi Balcon, M.).
MARGADONNA, Ettore M.
Cinema ieri e oggi. Stona del cinema
not damericano ed eutopeo cortedato
dalle biografie del piu noti cineasti.
Milano, Editonale Domus, 1932, pp.
290, ill., 284, 4.
MAZZOTTI BIANCINELLI, Franco
20 anni d'arte muta. Cinemateca del-
la produzwne filvristica italiana dal
1908 al 1928.
Milano, Alinan, 1939, pp. 120, ill.,
26, 16.
MENDEZ LEITE, Fernando
Hwtona smtetica del cinema.
Madrid Graficas Sanchez, 1941, pp.
160, ill.
El Cine norteamencano.
Madrid, Graficas Sanchez, 1942,
pp. 322, ill.
MESSEL, Rudolph
This Film Business.
London, Benn, 1928, pp. 295, ill , 8.
MILLIGRAM, F.
For que nacio el cine.
Buenos Aires, Editorial Nova, 1947,
pp 340, ill. 257.
MONTESANTI, Fausto
II cinema sonoro fino alia seconda
guerra mondiale.
Quarta dispensa del Corso di cul-
tura cinematografica per gli alun-
ni delle scuole medie superiori.
Roma, Centro Sperimentale di ci-
nema tografia e Cineteca autonoma
scolastica, 1953.
MOTA (da), Costa
O cinema na Inglaterra.
Lisboa, Parcena A. M. Pereira, 1943,
pp. 62.
MOUSSINAC, Leon
Le cinema souietique.
Paris, Gallimard NRF, 1928, pp. 221
OTTEN, J. F.
Amerikaansche Filmkunst. (L'arte
cinematografica americana) .
Rotterdam, Brussels Uitgeversmaat-
schappij, 1931. pp. 70, ill. 32. -
PALAU, Jose Claveras
El cine sovietico.
Barcelona, 1932
His tot ia del cine.
Barcelona, Seix y Barral, 1946, pp
62, ill.
(Collecion EsLudio)
PALMIERI, Eugeuio Ferdinando
Vecclno cinema italiano.
Venezia, Zanetti, 1940, pp. 242, ill.
IQ.
Panorama du Cinema Espagnol
Madrid, Cmemalografia, 1951, pp.
32, 160.
PANCZEL, Lajos
Az otveneves mozi. (50 anni del ci-
nema) .
Budapest, ed. Budapest Literary, Art.
and Scientific Institute, 1945.
PASINETTI, Francesco
Storia del cinema dalle ongini a oggi
e Dizionano cinematogtafico.
Horna, Edizioiii di Bianco e Nero ,,
i939> PP- 456, ill 176, 8.
Mezzo secolo di cinema.
Milano, Poligono, 1946, pp. 155, ilL
101, 8.
(PATERA, Rudolf) a cwa di
Vitezny Film, tncet Let Sovetskeho
Filmu. (II film vittorioso, trent'anni
di cinema sovietico).
Praha, Svet Sovetu, 1950, pp 400, ill.
702, 8.
Sommario Kopecky Trent'anni di
cinema sovielico - Pudovkin . Sul rea-
lismo socialista nel film sovietico -
Patera . Lineamenti di sviluppo del
cinema sovietivo - Struska Sguar-
do su alcuni setlori del cinema so-
vietico.
PETERSON, Marcelene & TAYLOR^
Deems & HALE, Bryant
A Pictorial History of the Movies.
(vedi Taylor, D.).
POLITICAL AND ECONOMIC PLAN*
NING
The Bntish Film Industry. A 'icpoit
by PEP.
London, P.E.P., 1952.
Sommario : Introduction. - Part One :
The development of the industry. I.
The Story-Teller of the People. II.
The Foundation of an Industry (1896-
1914). III. Conquest by Hollywood
(1914-1917). IV. Years of Transition
(1926-1930). V. Years of Expansion
(1930-1939). VI. The War Years
(1939-1945). VII. Recovery and Re-
lapse (1945-1948). - Part Two e Part
34
Three (vedi in Cap. V, A e \I)
POTAMKIN, Harry Alan
The Eyes of the Movie.
New York, International Pamphlets,
1934. pp. 3i-
FROLO, Maria Adriana
Stona del cinema muto italiano (Vo-
lume I).
Milano, Poligono, 1951, pp 187, ill.
118, 8.
QUIGLEY, Martin jr.
Magic SJiadows. The Stoty of the
Oiigin of Motion Pictures.
Washington, Georgetown Universi-
ty Press, 1948, pp. 190, ill. 27.
Quinze ans de cinematographie sovie-
tique
Moscou, Direction gcner de Pmdus-
trie cmematographique, 1935, pp. 86.
RADO, I. & HELD, A. & LANYI,
Dr. V.
A 25 eves mozi. A wagyar kniemato-
grafia negyedszazados tortenete.
l (Vedi Held, A.).
RAMSAYE, Terry
A Million and one Nights. A History
of the Motion Picture.
New York, Simon and Schuster,
1926, pp. 500, ill. 100, vol. 2.
RIDEOUT, Eric H.
The American Film.
London, Mitre Press, 1937, pp 163,
ill. 60.
ROBSON, E. W. & ROBSON, M. M.
The Film answers back: an Historical
Appreciation oj the Cinema.
London, Lane, 1939, pp. 336, ill.
ROGNONI, Luigi
II cinema muto dalle ongini al 1930.
Roma, ed. Bianco e Nero , 1952,
pp. 237, ill- 75> 8<>.
RONDI, Gian Luigi & BLASETTI,
Aiessandro
Cinema italiano oggi (vedi Blasetti).
ROTHA, Paul
The Development of Cinema.
in For Filmgoers Only di Lam-
bert, Lejeune, Rotha, Buchanan,
Field. London, Faber & Faber, 1934.
The Film till Now. a survey of the
cinema.
London, Cape and Harrison, 1930, pp.
362, ill. 8.
Movie Parade.
London, The Studio PubL, 1936, pp.
142, ill. 548, S-
New York, The Studo PubL, 1937.
Celluloid; the film to-day .
London, New York, Toronto, Long-
mans, Green and Co., 1931, pp. 259 S
ill. 8. - Ed. 1933, pp. 273.
Documentary Film Prefazione di
John Gricrson.
London, Faber & Faber, 1936, pp.
272, ill. 23, 8; 2 a ed. 1939.
ROTHA, Paul & GRIFFITH, Ridbard
The Film till Now - a survey of world
cinema. With an additional section
by Richard Griffith.
London, Vision Press, 1949, pp. 785,
ill. 172.
ROTHA, Paul & MANVELL, Roger
Movie Paiade.
New York, 1949.
London, The Studio PubL, 1950, pp.
160, ill. 676, 8.
SADOUL, Georges
Histoire genetale du cinema.
Paris, Denoel
TOME I: * L' invention du cinema .
(1832-1897).
pp. 364, ill. 144 - 1946
TOME II. Les pionniers du cin&-
ma . (1897-1909).
pp. 630, ill. 305 - 1947.
TOME III: Le cinema de-vient mi
art . (1909-1920).
Premier volume: L'Avant-Guerre.
pp. 370, ill. 202 - 1951.
Histoire d'un art: Le cinema des on-
gines a nos jouis.
Paris, Flammarion, 1949, pp. 480, ill.
102, 8.
Stona del cinema.
Torino, Emaudi, 1952, pp. 648, ill.
IUQ.
SALADO, Jose Luis
Tiemta anos de cine sovietico.
in : Cultura Sovietica. Mexico. 40,
feb. 1048,
SCHOLTE, Hendrik
Nederlansche PilmkunsL (L'arte ci-
nematografica olandese)
Rotterdam, Brusse's Uitegeversmaat-
schappij, 1933. pp. 64, ill. 98.
SCHUSTACK, Edward H.
The documentary film; history and
principles,
New York, The Society, 1938, pp. 32.
(Film and Sprockets Society of the
CCNY Art Department, publ. n. 2).
SELDES, Gilbert Vivian
An hour with the movies and the
talkies,
Philadelphia, J. B. Lippincott Co.,
1929, pp. 156.
The movies come from America. Pre-
fazione di Ch. Chaplin.
35
New York, Scribner's, i937 PP- I2 -
Movies for the millions. (Ed. ingle-
se del precedente).
London, Batsford, 1937.
SIGNORINI, Giorgio & TOSI Fraaco
Awentwa di tin quant J anni. (1895-
1945).
in : Film Rivista , Firenze, III,
nn. i, 3, 5, 6 - 1946.
(SOKOLOV, I. V.) -a cura di
Istoria sovetskovo kinoiskusstva svu-
ko'vogo penoda. (Storia dell'arte ci-
nema tografica sovietica del periodo
sonoro) .
Moskva, Goskinoisdat, 1946.
Vol. I. (1930-1941)1 PP- 3*9*
Vol. II. (i934-*944)> PP 3*0.
SPEED, Maurice
Movie Cavalcade. The Story of the
Cinema..
London, Raven Books, 1944.
SZEKELY, Sandor
A film utja szuletesetol a beszelo fil-
mig. (La via del film dalla nascita
al sonoro).
Budapest, ed. Altalanos nyomda,
konyv es lapkiado, 1928.
TALBOT, Frederick A.
Moving pictures: how they are made
and worked.
Philadelphia, Lippincott, 1912, pp.
340, ill.
Moving pictures: how they are made
and worked. Entirely rewritten.
Philadelphia, Lippincott, 1923, pp.
429; ill., 16.
London, Hememann William, 1924.
TAYLOR, Deems & HALE, Bryant &
PETERSON, Marcelene
A Pictorial History of the Movies.
New York, Simon and Schuster, 1943,
pp. 350, ill. 717-
TOSI, Franco & SIGNORINI, Giorgio
Awentura di tin quant J anni. (1895-
1945).
(Vedi Signorini, G.).
TOURKINE, V.
La cinematographic de I'Ukraine So-
vietique,
in : Le Cinema en U.R.S.S. di A.
Aroseff (vedi).
VAN DEN WIJNGAERT, Frank
* De Film. (Geboorte en Entwikkeling).
(II film. Nascita e sviluppo).
Bruxelles, Uitgaven van het N.I.R.,
1938, pp. 46, ill., 44, 16*.
VEDRES, Nicola
Images du cinema, francais.
Paris, Editions du CMne, 1945.
VERDONE, Mario
Italian Cinema /torn Beginning to
Today.
in * ((Hollywood Quarterly , 3,
1951
Stona del cinema.
Roma, Quaderni della Rivista del
cinematografo , 1952, pp. 48, ill. 48
L t., S^>.
VILLEGAS LOPEZ, Manuel
Cine de medio siglo.
Buenos Aires, Editorial Future, 1947,
pp 228, ill. 8.
Cine Frances. O rig en, Htstoria y
Cntica.
Buenos Aires, Editorial Nova, 1947,
pp. 285, ill. 154, dis. 700.
VINCENT, Carl
Histohe de I' Art Cingmatographique.
Prefazione di J. Feyder.
Bruxelks, Ed. du Trident, 1939, pp.
255> ill. 3io, 4-
Storia del cinema. Prefazione di J.
Feyder.
Milano, Garzanti, 1949, pp. 510, ill.
473-
VINCENT, Carl & CINCOTTI, Guido
// cinema dalle origwi alia pnma guer-
rn mondial?.
(vedi Cincotti) .
VISNEVSKIJ, V.
Khudojestvennie film dorevoluzionni
Rossij. (II film drammatico della Rus-
sia pr envoi uzionaria).
Moskva, Goskinoisdat, 1945, pp.
IQI, 8.
25 let sovetskovo kino v chronologi-
ceskich datach. (25 anni di cinema
sovietico cronologicamente presentati)
Moskva, Goskinoisdat, 1945, pp.
141, 8.
VIVIE', Jean
Histoirc et developpement de la
technique cinematographique.
Vol. I del Traite general de Tecnique
du cinema, di J. Vivie. (vedi in Cap.
IV, A.).
Paris, B.P.I., 1946, pp. 137, 40.
VLCEK, Vladimir
30 let sovetske'ho filmu. (Trent'anni
di film sovietico).
Praha, Orbis, 1947, pp. 18, 8.
Defild sovetskelo fiilmu (Panorama
del cinema sovietico)
Praha, CsFN, 1947, pp. 139, ill.
24, 80.
WALDKRANZ, Rime
Film en vaxer up p. Femtio ars ut-
36
Deckling. (II film cresce. 50 anni di
sviluppo),
Stockholm, Hugo Gehers, 1941, pp.
411.
WARREN, Low
The Film Game.
London, Werner Laurie, 1937, pp.
236, ill.
WEAD, Frank W.
Our Greatest Stoiy - Telia ; The Sto-
ry of Talking Pictures - Illustrated
by Paul Laune (Our Changing
World).
New York, Nelson, 1936, pp. 62, ill.
WOLF-CZAPEK, K. W.
Die Kinematographie, Wesen, Ent~
stehung und Ziele des lebeden Bddes.
Berlin, Unioni, 1908, pp 120, ill. 41.
WOLLENBERG, H. H.
50 Years of German Film.
London, The Falcon Press, 1948, ill.
70, 4.
WOOD, Leslie
The Romance of the Movies.
London, Hememann, 1937, pp 343,
ill.
ZECCA, Ferdinand
La cinematogiaphie francaise. Horn-
mage de la cinematographic j^angaise
a Louis Luinieic. Quay ant ans de ci-
nema 1895-1935.
Paris, 1935, pp. 88, ill.
ZUNIGA, Angel
Una histoiw del cine.
Barcelona, Ediciones Destine, 194(8
Vol. I pp. 467, ill. 192.
Vol. II pp 529, ill. 338.
B) MONOGRAFIE STORICHE
I saggi e gli articoli dedieati a un momento hmitato della stona del cinema
rappresentano la maggior parte della produzione bibhografica relativa alia cine-
matografla , il che si spiega facilmente se si pensi che ogni scritto che riporti
un avvenimento del passato o mformi su un argomento qualsiasi puo senza diffi-
coltd, esser considerate come <t storico . Troppo facilmente la storiografia pud
sconfinare nella semplice critica. Evidentemente il criteno fondarnentale per la
definizione delle monografle storiche dovrebbe essere quello del metodo . il
toetodo storieo esige innanzitutto la raccolta e 1'esanie delle fonti, la loro scelta
<e discussione, la ricostruzione, attraverso 1'esposmone cronoltfgica dei fatti, dei
processi ^volutivi di uommi e correnti del pensiero.
Tuttavia abbiamo prefento attenerci per questa sezione a criteri meno rigo-
rosi eonsiderare monografie storiche quei lavori che accanto all'esame critico
di opere ponessero la informazione sullo svolgimento di avvenimenti e sulPevo-
luzictoe di personalita , incluclere tra le monografie quei lavori scientifici, tecnici
e d^altro carattere che per Pepoca in cui sono stati scritti assnmono oggi carat-
terse di documentazione stonca Per esempio, oltre che nel capitolo relative alia
Scienza e il Cinema, si potranno trovare qui i lavori di Plateau del 1834 o di
Hep worth del 1891. Riteniamo infatti che il loro sigmficato storico sia divenuto
nolto superiore al loro contenuto scientifico o tecnico.
B) - MONOGRAPMIES HISTORIQUES
Les etudes et les articles consacres a un moment limite de 1'histoire du
Cinema represeiitent la majeur partie de la production bibliographique relative
& la cinmatograplii'e ; ceci s'explique facilement si Pon pense r que tout ecrit qui
rapporte un evn ( em'ent du passe ou informe sur un argument quelconque pent,
sans difficult^, elxe consid^re comme historique . Tres facilement la simple
critique peut se rewrser dans la storiographie. Evidemment le cntere fondarnental
pour la defection des monographies historiques devrait toe celui de la m^thode
la methode laistaique exige avant tout le rassemblement et 1'examen des sour-
37
ces, leur choix et leur discussion, la reconstruction a travers 1'exposition chrono-
logique des faits, des evolutions d'hommes et cle courants de pensees.
Toutefois nous avons prefere nous en tenir, pom cette section, a des criteres
moms rigoureux considerer monographies histonqu-es les travaux qm, a cote de
1'examen critique d'oeuvres, consacrent ^attention sur la succession d'evenemenls
et sur Devolution de personnahtes , faire entrer parrm ces monographies les tra-
vaux scientifiques, techniques et d'autres caracteres qui en raison cle Pepoque
a laquelle ils furent cents assument aujourd'hui un caractere de documentation
historique. Par exemple, outre que dans le Chapitre relatif a la Science, on
pourra trouver, ici, les travaux de Plateau de 1834 ou di Hepworth de 1891 Nous
considerons en effet que leur signification historique est, a present, de loin supe-
rieure a leur contenu scientifique ou technique.
B) - HISTORICAL MONOGRAPHS
Essays and articles dealing with limited periods of the history of the cinema
account for the largest part of the bibliographic production relating to motion
pictures , this is quite understandable if one considers that anything written
about something that 'happened in the past or information regarding any subject
can without difficulty be considered historical Historiography however can
only too easily overstep its boundaries and trespass on the domain of mere cri-
ticism Obviously the basic principle that should be adopted in deciding what writ-
ings may be denned as historical monographs is that of method : the historical
method calls first of all for the collection and study of sources, their choice and
discussion and the reconstruction in chronological form of facts and of the evolu-
tionary processes of men and currents of thought.
In this section, however, we have preferred to apply kss strict principles,
considering as historical monographs those works which accompany a critical
survey of works with information regarding the course of events and the devel-
opment of personalities and including among the monographs such scientific, tech-
nical and other works as may now be considered in the light of historical documen-
tation in view of the period in which they were written. For instance mention of
the works of Plateau in 1834 and of Bepworth in 1891 will be found here as well
as in the chapter on Science and the Cinema We are in fact of the opinion that
their historical significance is now far greater than their scientific or technical
importance.
AGEE, Ja*ne ALEXANDER, Donald
Comedy's Greatest Em. Ike Documentary Film.
in * Life , 5 settembre 1949. London, British "Film Institute.
L'cpoca d'oro della contmcdia ci- AMERICAN CINEMATOGRAPH AND
nematografica. FILM CO.
in- ((Bianco e Nero , Roma, XI, 4, Mirror Vitac (Mirror of Life); the
aprile 1950 greatest of all entertainments).
ALBAN, Eugen New York, American Cinematograph
Charlie Chaplin Film Konstens Ma- and Film Co., 1897, pp 32
stare. (Ch Chaplin maestro dell'ar- AMERICAN CINEMATOGRAPHY
te del film). D. W. GRIFFITH.
Stockholm, 1938. edited by S. M Eisenstem and S. [
ALBER, Yutkevich.
La projection au XX siecle. Manuel Moscow, Goskmoisdat, 1944.
complet de I'amateur et du profes- ANSTEY, Edgar
sionnel par le prestidigitateur Alber. Development of Film Technique in
Paris, E. Mazo, 1904, pp. 316, ill. Butain.
38
in Manvell * Experiment in the
Film*. (Vedi).
ANTONIONI, Michelangelo
Maiccl Came, patigino,
in Bianco e Nero , Roma, IX,
10, dicembre 1948.
Pci una stona dclla Mostra.
in Cinema v. s., Roma, VI, nn.
125, 126, 10 settembre 1941, 25 set-
tembre 1941.
APPLETON, Victor
Tom Swift and his Talking Pictu-
res , or the greatest invention on
record.
New York, Grosset and Dunlop,
1928, pp. 216.
ARAGAO, Armando
Tlie Film in Portugal.
111 <c Sight and Sound , London,
vol. 17, 65, Spring 1948
ARCHAROUNI, A.
Le cinema dans les republiques so-
victfques de I'Asic Centrale.
in A Aroseff : c Le cinema en
U.R.S.S. (vedi in Cap II A).
ARNHEIM, Rudolpk
Ongmalita di europco.
in . < Cinema n s , Milano, II, 6,
dicembre 1949.
ARNOUX, Alexander
La gucne ct la dlcouuerte du ci-
nema
in * La Revue du Cinema , Paris,
22, aprile 1931.
ARVIDSON, Linda
(vedi Griffith, Mrs. D. W.) .
AURIOL, Jean George
4^petli del cinema francese contem
poianeo. Trad, di Michelangelo An-
tonioni
in Bianco e Nero , Roma, IX,
5, lug ho 1948
Lcs deisms ammcs avant le cinema
- 1889 (Emile Reynaud).
in La Revue du Cinema , Paris,
6, gennaio 1930
Les premiers dessins cinematogra-
phies. (1908 - Emilc Cohl).
m La Revue du Cinema , Paris,
6, gennaio 1930.
Les stars.
in * Le cinema des origines a nos
jours a cura di Henri Fescourt,
t'vedi in Cap. I)
AUTORI VARI
Charles Chaplin.
quaderno a cura del Clube Porto -
iues de Cinematografia, Porto, 1949.
AUTORI VAR!
lakov Protazanov. (Saggi e material!
vari sul regista Protazanov)
Moskva Goskinoisdat, 1950.
Contiene scntti di : Cacialov, Voizik,
Sverdlin, Allinikov, Pudovkm, ecc.
AVENARIUS, G.
Jean Renoir.
Moskva, Goskinoisdat, 1938, pp. 71.
BALAZS, Beta
Film into Fascism.
in New Theatre , New York, ot-
tobre 193/1
Rojdeme nazwnalnouo kmostilia.
(Nascita dello stiie cmematografico
nazionale).
in a Zana Vostoka , Moskva, 38
novembre 1934.
BARBARO, Umberto
// cinema sovietico.
in . * Film Rivista , Firenze, III,
10, gmgno 1946.
L'histoire d'un Pierrot.
in . Bianco e Nero , Roma, I, i,
gennaio 1937.
Nascita del film d'aite.
in : 40 anniversario della cinema-
log rana , Roma, 1935.
Piccola storia del film documentario
in Halia.
in Quadnvio , Roma, 6 settem-
bre 1936.
I quamnt'anni del cinema.
in- L'ltalia letterana , Roma, 2
marzo 1935.
Tolstoi parla di cinema.
in : Cinema v. s., Roma, III, 51,
agosto 1938.
BARRY, Iris
A Bnef Histoty of the American
Film 1895-1938.
in , cc Musee du Jeu de Paurne , Pa-
lis, 1938, pp. 97, ill. 101.
A Review of Film Histoiy in a
Cycle of seventy Films.
in Museum of Modern Art ,
New Yor&, The Museum, 1939.
D. IF. Giitjitii, American Film
Master.
New York, Museum of Modern Art,
Film Library, 1940, pp. 30, ill., 40.
Georges Melies, Magician and Film
Pionler 1861-1938.
New York, Museum of Modern Art,
1939, pp. 5, ill. 5.
(Art in Our Time).
Pionier 1861-1938.
39
in: Art in America)), a cur a di
Cahill, Holger & Barr, Alfred.
1935-
New York, Reynal and Hitchcock,
The Western Film.
New York, Museum o Modern Art,
Film Library.
BAUDELAIRE, Charles
Moiale du joujou.
in- Curiosites esthetiques , Paris,
Lemerre, 1853.
(Contiene una Jescrizione del phe-
nakistiscope) .
BAZIN, Andre
Le myihe de M Verdouoc,
in La Revue clu Cinema , Pans,
9, gennaio 1948.
Pom' en finit avcc la pwfondeut
du champ.
in . Cahiers du Cinema , Paris, I,
n. i, aprile 1951.
BAZIN, Andre & COCTEAU, Jean
Orson Welles.
Paris, Chavane, 1950, pp. 64.
BEK-NAZAROV, Amo
Quelques notes sur la cinematogra-
phic sowetique armemenne.
in A Aroseff Le cinema en
U.R.S.S. . (Vedi in Cap. II A).
BERG, Gustav
Aktuelle jilntproblem.
Stockholm, 1921.
BERTRAND, Anthony
Notes sur le cinema polonais.
in : La Revue du Cinema , Paris,
9, aprile 1930.
BESSY, Maurice & FLOREY, Robert
Monsieur Chaplin OU( le rite dans la
nuit.
Paris, Damase, 1952, pp. 230, ill. 63.
BESSY, Maurice & LO DUCA, Joseph
Marie
Georges Melies, mage.
Paris, Prisma, 1945, pp. 204, ill.
283 , 4-
Contiene in appendice : Mes me-
moires di G. Melles.
Louis Linniere, inventeur.
Pans, Prisma, 1948, pp. 132, ill. 115
BIANCHI, Pietro
Henri-Georges Clouzol. Con note
bio-biblio-filmografiche a cura di
Giuseppe Calzolari.
Parma, Guanda, 1951, pp. 76, ill. 30.
BLASCO, Ricardo
Quando Vienna ride-va. I . Operette
senza musica. II: L'euforia musica-
le. Ill : La musica alleata e non ser-
ua dell j espressionismo. IV. Ultima
evoluzione.
in Cinema n. s., 104-105-106-107-
108, 28 febbraio, 15 marzo, 15 apri-
le, 30 aprile, 1953.
BLIN, Roger
King Vidot.
in La Revue da Cinema , Paris,
ii, gmgno 1930.
Les travaitb, Ics onvtagcs ct Ics in-
ventions de Matey.
in La Ivevue du Cinema , Paris,
ii, gmgno 1930.
Mui nau.
m . La Revue du Cinema , Paris,
25, luglio 1931
BOLSCIAKOV, L
Sovietskoie kinoiskusstvo v godi rc-
likoi otecestvennoi uomi. (L'arte ci-
nematograhca sovietica negh anni
della grande guerra patnottica)
Moskva, Goskmoisdat, 1948.
BOURGEOIS, Jacques
Rene Clair.
Geneve, Pans, 1949, pp. 102, ill., 12.
BRITISH FILM ACADEMY & NA-
TIONAL FILM LIBRARY & SO-
CIETY FOR CULTURAL RELA-
TIONS WITH U.R.S.S.
Eisenstein 1898-1948.
London, Lund Humphries & Co.,,
1948-
BRODIANSKI, B.
Vladimir Petrov.
Moskva, Goskmoisdat, 1939.
BRUNEL, Georges
Kinetogtaphe Mclies Reulos,
Pans, 1897.
Projections animees.
Paris, 1897.
BRUNIUS, Jacques B.
Le cinema art et le cine oeil.
in: La Kevue du Cin6ma , Paris ^
4, ottobre 1929.
Experimental Film in France.
in Manvell * Experiment in the
Film . (Vedi).
Rene Claii .
in : <c Cmea-Cine , Paris, 79, 1927.
BRYAN, George S.
Edison. (Edison's Contribution ta
Cinematography) .
New York, Alfred A. Knopf.
BRYHER, Winifred
Film Problems of Soviet Russia.
Photographs chosen and titled by
K. Macpherson.
Territet, Pool Publications, 1929 ,.
pp. 140, ill., 75, 16.
40
BUB, Gertrude
Dei Deutsche Film im Weltkrieg
und sein publizistisclier Emsatz.
Quackenbriick, Hendelsdruck C.
Trute, 1938, pp. 125, ill. 6, 4.
BURGER, Erich
Les debuts tic Ch Chaplin.
in La Revue du Cinema , Paris,
21, apnle 1931
CADES, A. R.
Stona dell a Cines.
in cc Cinema v. s., Roma, 20, 25
apnle 1937-
CALENDOLI, Giovanni
II Imguaggio comico di Max Linder.
in ((Cmema, n. s., 97, i novem-
bre 1952.
Breve incontro con la Comica fi-
nale .
in Bianco e Nero , Roma, XIII,
7-8, luglio-agosto 1952.
CARTER, Hirally
New Theater and Cinema of Soviet
Russia.
London, Chapman & Dodd, 1924.
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Sommano : De Plateau a Reynaud -
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me amencam - Esthetique et varia-
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45
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Soviet documentary di R. Karmen -
Expansion of the German and Au-
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Pierre
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MEYER, Bruno
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Dian di Chiennes scoperti da Renoir.
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MORANDI, Aldo
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NATIONAL BOARD OF REVIEW OF
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American I-hstonc and Patnotic
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NATIONAL FILM BOARD OF CA-
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The Arts in Canada and the Film.
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NATIONAL FILM LIBRARY & BRI-
TISH FILM ACADEMY & SOCIE-
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NEERGAARD, Ebbe
En filminstruktors Arbejde. (Carl
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NEOREALISMO ITALIANO, (II)
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The France I Knew The Story of
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NIESSEN, Carl
Der Film , eine unabhdngige-
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The Cinema and the Negto (1905*
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London, 1948.
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London, 1949.
50
An Index to the Creative Woik of
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London , 1952.
NOGUES, Pierre
jiiles Marey ei la chionophotogra-
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Contiene scritti di (in testi svedesc,
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Curriculum vitae; Catalogo delle
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Emile Reynaud, sa vie et ses tra-
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L'oeuvre de Georges Melies. Le Gala
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OERTEL, Rudolf
Filmspiegel : ein Brevier aus dem
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Wien, Frick, 1943.
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OGANESOV, K.
Amenkanshie Kino-iejissen t (Regi-
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PABST, Rudolf
Das deutsche Lichtspieltheater in
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PALMER, Edwin Obadlali
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Contribute alia storta del cinema ita-
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Conquista dello spazio nella storia
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La scuola d'avanguardia francese
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I valon dell j opera di E. Guazzoni
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51
Alack Sennett c la <c slapstick co-
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La storla del cinema amencano -'1896-
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ZO 1953
Regta c regtstl italiani nel deccnnio
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PAOLINI, Francesco
Pro fih . John Huston.
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PASINETtl, Francesco
Un ueliero bianco; stona di F. W.
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PARVILLE, Henry de
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PAUL, Robert W.
Animated Photograph Films.
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PELAYO, Jorge
Cinema de vanguarda.
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PERSICHINI, R. & GIANNITRAPA-
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PLATEAU, Joseph
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POTONNIEE, Georges
Les otigines du cinematographs
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POULAILLE, Henry
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POWELL, Dllys
Films Since 1939
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PRIACEL, Stephan
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PROLO, Maria Adriana
Torino cinematogiafica pnma e du-
rwnte la guerra.
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Italian! nella cinematografia stra-
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PUCCINI, Gianni
Contribiito cronistico alia storia del
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PUDOVKIN, V. & SMIRNOVA, E.
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QUEVAL, Jean & JACOBS, Lewis &
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Quaderni della Mostra Internaziona-
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RAMOND, Edouard
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RAMSAYE, Terry
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REGENT, Roger & CHARENSOL,
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REGENT, Roger
Cinema de France.
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RENAITOUR, Jean-Michel
Ou va le cinema francais ?
Paris, Baudiniere, 1938, pp 478, 8.
(RENOIR)
Jean Renoir.
Numero special de Cine Club ,
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RESNEVIC SIGNORELLI, Olga
11 cinema in Lettonia.
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RICHARD, Jean
Les grands reahsateuvs russes.
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naio 1932.
(RICHTER, Hans & NORDENFALK,
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(Vedi: Nordenfalk, C. Rich-
ter, H.).
RICHTER, Hans
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Avant-gaidc in Gennany.
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Ventes sur lc cinema ftancais.
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ROBIN HOOD (Idestam-AImquisf,
Bengt)
Svenska Filnicns Dtama: Sjostwm
och Stillet. (Vedi. Ides tarn- Alm-
quist, Bengt).
ROGGEN, C. J. Graadt (van)
Det llnnen Venstei. (La finestra di
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Rotterdam, Brusse's Uitgeversmaat-
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ROMAN, Benjamin
The Motion Picture Projector and
its Inventor, Jean A. Lc Roy, Pio-
neer of 2U. P. Projector.
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ROSHAL, Grigori
Soviet Film.
m Manvell, R. : : Experiment in
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ROSLER,
\Vle unsei Kino entstand.
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ROTELLAR, Manuel
Ten o} e sugH schermi.
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Lcs Apprentis Sorciers - D J Edison a
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English Inflences on the Work of
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S3
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An Index to the Creative Work of
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Lumiei? The Last Inter-view.
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L f ultima intet vista con Louis Lu-
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Jacques Feydei (1888-1948) iniziatow
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Le idle du mouvement et du de'pla
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La tecmca rivoluzionana nella C&
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British creators of film technique.
1948.
SALVADORI, Fausto & GRANICH,
Tom
Lmeamenti di stona del cinema so
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SCHOLTE, Hendrik
Needeilansche filmkunst. (Arte ci-
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SCOTLAND, John (pseud.)
The Talkies.
(Intr. di Cecil M. Hepworth).
Industrial Book Co., 1931, pp. 194,
SEATON, Marie
Turkish Prelude.
in: Close Up , London, X, 4, di-
cembre 1933.
Peiche . Que Viva Mexico/ liniase
incompiuto.
in : Cinema n. s., Milano, I, 4,
15 dicembre 1948.
SELDES, Gilbert Vivian
The Movies come from America.
Pref di Charlie Chaplin.
New York, Schibner's Sons, 1937,
Dp 120, ill.
London, Botsford Ltd
SERRANO, Alberto
Las pehculas espanolas.
Barcelona, 1925.
SMIRNOVA, E. & PUDOVKIN, V.
Le cinema soviehque. (Vedi Pu-
dovkin, V. & Smirnova, E.)
It cinema sovietico (Vedi : Pu-
dovkin, V & Smirnova, E.).
SOCIETY FOR CULTURAL RELA-
TIONS WITH THE U.R.S.S. & BRI-
TISH FILM ACADEMY & NATIO-
NAL FILM LIBRARY
Eisenstein 1898-1948.
London, Lund Huphries & Co.,
1948.
SOFIA, Coo-ado
Appunti sul teatw e sul cinema ci-
nese.
in * Scenario , Roma, 2, 1933.
SOLAROLI, Libero
Da cc Rotaie a cc Ossessione . I La
leg lone straniera degli mtetlettiiaV
itahani. II I mille di Garibaldi pro-
tagonisti del prlmo film stonco italia-
no. Ill II piano delle zitelle nel mez-
zogiorno d j Italia. IV. La teiza Ci-
nes indossa la camicia nera. V Sui-
te balere di Geno'va la JJ Sisstgnom "
di Poggioli. VI: L'assistente mili-
tate raccontava soggetti. VII. Lo
sciopcro di Vlsconti.
in Cmema nuovo , Milano, 2*4-
6-8-10-12-14, i gennaio, i febbraio,
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SOLLIMA, Sergio
Cinema in U.S.A.
Roma, Editrice cc A.V E , 1947, pp.
235, iH 190, 8.
SOLSKI, Waclaw
La fine di S. M. Eisenstein.
111. Bianco e Nero , Roma, XI,
i, gennaio 1950
(Trad, da Commentary - Ame-
rican Jewish Committee - New York,
VII, 3, 1949).
SORS, Ivan
Panoptikum cs. ftlmu od Zet do A.
(Visione generale del film cecoslo-
vacco dalla Z alia A).
Praha, Knihovna Filmoveho Kury-
ru, 1932, pp. 245, 8.
54
-SOUPAULT, Philippe
The American Influence in France.
Trad di Babette e Glenn Hughes.
Seattle, University of Washington
Bookstore, 1930, pp. 23
Legende de Chariot.
in La Revue du Cinema , Paris,
21, aprile 1931.
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rici sovietici) .
Moscva, E. Veisman Goskmoisdat,
1939-
(Testo in cecoslovacco).
JSPACIL, Karl
Fmnz Freiherr von Uchatnts.
in Schweizensche Zeitschnft fur
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Vol. XLI, 1905.
STENZEL, Albert
Vom Kintopp zw Filmkunst. Men-
schen die Filmgeschichte machten.
Berlin, Hermann Wendt, 1935,
pp. 48, ill.
.STERN, Seymour
The Birth of a Nation.
(Special Supplement to Sight and
Sound , Index Series, 4).
London, 1945.
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Birth of an Art, 1908-1915.
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Sound , Index Series, n. 2).
London, 1944.
David Wark Griffith. Part II- The
Art Triumphant, b)* The Triangle
Productions, 1915-1916.
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Sound , Index Series, n. 7).
London, 1946.
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London; 1946.
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Sound , Index Series, n. 10)
London, 1947.
L J oera di Griffith.
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36, 15 aprile 1950.
(STROHEIM)
Erich von Stroheim.
Numero special de Cine Club ,
Paris, II, n. 7, aprile 1949.
SVENSK F ILMINDUSTR!
Svensk Filmmdustn tjugufem an
(En bok om filmpioduction och bio-
giafiotelse utgiven till jubileet av
Aktiebolget Svensk Filmindustii)
(25 anni della Svensk Filmindustri .
un hbro sulla sua produzione e la
sua biografia pubblicato in occasione
del suo giubileo)
Stockholm, Svensk Filmindustri,
1944, pp. 294, ill. 140, 4.
SZOTS, Istvan
Ropitat a magycu filmmuueszet
ugyeben. (Opuscolo circa 1'arte del
film ungherese).
Budapest, Edizione clell'autore, 1945
TEPPE, Julien
Les tendances artist iques du, cinema
ftancats.
Aurillac, pp 24, 8.
TER-BRAAK, Menno
De absolute film. (II film assoluto).
Rotterdam, Brusse's Uitgeversmaat-
schappij, 1931, pp. 50, ill. 100.
TEUNISSEN, J.
Film en Film-wezen in Nederland.
(Film e affari di film in Olanda).
Haag, Deschouw, 1942, pp. 31.
THEISEN, Earl
I pnmi soggetti.
in. Cinema v. s., Roma, IV, 64,
25 febbraio 1939.
(THRASHER, Frederic} a cura di
Okay for Sound. How the screen
found tts voice.
New York, Duell, Sloan and Pierce,
1946.
TRAUB, Hans
Die UFA.
Berlin, Ufa Lehrschau, 1943, pp. 281.
TRUTAT, Eugene
Tyaite general des projections.
Paris, Gauthier-Villars, 1897.
La photographic anwnee.
Paris, Gauthier-Villars, 1899.
TUCCI, Giuseppe
II cinema indiano.
in * Bianco e Nero , Roma, VI,
i, gennaio 1942.
TYLER, Parker
Chaplin Last of the Clowns.
New York, Vanguard, 1948.
ULM, Gerith (von)
Charlie Chaplin, King of Tragedy.
Caldwell (Idaho), Caxton Printers,
1940, pp. 402, ill., 41*
UMBEHR, Heinz
Histonque du film sonore.
55
in La Revue du Cinema , Paris,
12 luglio 1930.
VAESSEN, Kurt
Daten aus der Entwicklung de$
Rundfunbs. Mit Vergleichszahlen
aus der Geschichte des Film, der
Presse und des Verkehrswesen.
Wiirzburg, Triltsch, 1938, pp. 58
(Zeitung und Leben 50).
VAISFELD, J.
C. Kosmsev i L. Trauberg.
Moskva, Goskmoisdat, 1940.
VAUGHAN, David
La danza nel cinema.
in: Cinema > n, s., II, 16, gmgno
1949-
VENTURING Franco
Origtni del neorealismo.
in : Bianco e Nero , Roma, XI, 2,
febbraio 1950
VERDONE, Mario
Aspetti del cinema messicano.
in: Bianco e Nero , Roma, X, 4,
aprile 1949.
S. A. Luciani.
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i, gennaio 1951.
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gennaio-febbraio 1950.
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12, dicembre 1952,
Del film storico.
in : c Bianco e Nero , Roma, XIII,
7-8, luglio-agosto, 1952.
VIAZZI, Glaiaco
Donne dietro la macchma da presa.
in: . Cinema , n. s., Milano, I, 4
e 5, 15 dicembre 1948 e 30 dicembre
1948.
A proposito di Jean Vigo.
in: c Bianco e Nero , Roma, X, 3,
marzo 1949.
Cinema sovietico del dopog-u&rra,
in: e Bianco e Nero , Roma, X, 7,
luglio 1949.
Parabola creativa di Jean Renoir.
in- Cinema , Milano, 93, i set-
tembre 1952.
VIDAL, Leon
Le cinematographs.
in Moniteur de la Photographic ,
1895.
(VIGO)
Jean Vigo.
Numero special de Cine Club , II,
n. 5, febbraio 1949.
VILLEGAS LOPEZ, Manuel
Charles Chaplin, el genio del cine.
Buenos Aires, Editorial Americalee
i943> pp. 296, ill. 47-
VINCENT, Carl
The Independent Cinema in Bel-
gmm.
in: a Close Up , London, vol. V,
4, ottobre 1929.
L'histouque du cinema beige et ses
lecons.
m K Le Cinema en Belgique ,
Bruxelles, Reflets, 1940.
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in. <c La Critica Cinematografica )>,
Parma, III, 9, gmgno-luglio 1948.
Parabola stonca di David Waik
Gnffith
in Bianco e Nero , Roma, IX,
10, dicembre 1948.
Carl Theodor Dreyer e la sua opem,
in Bianco e Nero , Roma, X,
ro, ottobre 1949.
L J elemento comico in Mehes. (Con
inediti di G. Melies).
in II film comico a cura di Ma-
rio Verdone. ( Sequenze - Quader-
ni del Cinema Parma, II, 5-6, gen-
naio-febbraio 1950).
La fotografia attraijerso la stotia
del cinema.
in. Ferrania , Milano , IV, 10, ot-
tobre 1950.
Robert Flaherty Vuomo e I'opera.
in Ferrania , Milano, V, I, no-
vembre 1951.'
Un'eco mattesa del naturismo.
in Ferrania , Milano, V, I, no-
vein bre 1951.
Vita e morte del cinema svedese.
in . <c Ferrania , Milano, V, 4, apri-
le 1951.
La parabola dell'espressionismo.
in Bianco e Nero , Roma, XIII,
i, gennaio 1952,
Evoluzione delta figuia storica di
Lumiere.
in* Eco del cinema , IV, 51, 30
giugno 1953
II Kammet spiel.
in cc Bianco Nero , Roma, XIV,.
6, giugno 1953,
VITOUX, a
La photographic du mouvenunt -
cionophotogiaphie, ktnetoscope, cf-
nemato graphic avec dessins.
Pans, Chanmer, 1896.
56
VLCEK, Vladimir
Ctenl o sovetskych filmovych tezi-
serech. (Una lettera sni registi so-
vietici).
Praha, CsFN, 1947. pp. 113.
VOLKMER, Ottomar
Der Kinematogmph oder die leben-
de Photographic.
Wien, 1897.
WEINBERG, Herman G.
An Index to Creative work of Erich
von Strohelm.
(Special Supplement ""o Sight and
Sound , Index Series, i).
London, 1943 .
An Index to Creative work of Fritz
Lang.
(Special Supplement to Sight and
Sound , Index Series, 5).
London, 1946.
Two Pwneets Robeit Flaherty,
Hans Richter.
(Special Supplement to Sight and
Index Series, n. 6).
London, 1946
WEISTEIN, Pierre & MARCHAND,
Rene
Uart dans la Russie nouvelle Le
cinema. (Vedi Marchand, R &
Weinstein, P.).
WESSEM, Constant (van)
De komische Film. (11 film comico)
Rotterdam, Brusse's Uitgeversmaat-
schappij, 1931, pp. 56, ill. 40.
WHITE, Eric Walter
Walking Shadows. (An essay on
Lotte Reiniger's silhouette films).
London, Leonard & Virginia Woolf,
1931, pp. 31-
WHITE Kenneth
F. W. Murnau,
in " Hound and Horn , New York,
vol. IV, 4, luglio-settembre 1931.
WILSON, Edmund
Eisenstem in Hollywood.
in The New Republic , Xew
York, 4 novembre 1931.
Wochenschau (25 Jahre) der UFA
Gesohichte der UFA iVochenschaiten
und Geschichten aus der Arbeit der
Wochenschau-A i belt.
Berlin, Illustnerte Filmwoche, 1939,,
PP- 5i
(Filmschaffen-Filmforschung. buhrif-
ten der UFA-Lehrschau. Bd. i).
WORTZELIUS, Hugo
A decade of Swedish Films, a re-
view of the forties.
in Biografbladet , Stockholm,
XXX, 4, vintern 1949-50.
WOOTTEN, William Patrick
An Index to the Creative Woik of
John Ford.
(Special Supplemen to Sight and
Sound , Index Series, n 13).
London, 1948.
YESUITOV, E.
Path of the Artistic Film 1919-1934.
Moscow, Kinofotoisdat, 1934, pp.
151, ill-
ZADDACH, Gehrard
Der Litciansche Film. Ein Beit jag
zur Geschichte der Lichtspielkunst^
Berlin, Dt. Filmwoche Vlgsges, 1929^
PP- 75-
(ZEISS IKON)
75 Jahre Photo- und Kmotechnik.
Festschnft hisg. anldsslich de> Feler
dcs 75 jahiigen Besteheus der Zeiss
Ikon A. G. und ihrer Vof ganger fit -
men 1867-1937, pp 137, ill.
ZHDAN, V.
Voiennii film v god! velikoi otecest-
vennci voini. (II film di guerra ne-
gli anni della grande guerra patriot-
tica) Pref. del Luogotenente Gene-
rale V. I. Morozov.
Moskva, Goskinoisdat, 1947, pp. no,
&>.
C) BIOGRAFIE, MEMORIE, ANEDDOTI
Nei lavori qui raccolti la testimonianza pittoresca prevale sull'intento cntico;
tanto che i saggi sull 'opera completa di un regista, quelle che in un certo senso
si potrebbero considerare le biografie spiritual!, sono stati esclusi da questa
paragrafo e rinviati alle Monografie Storiche o alia Critica. E' il caso di parec-
chi libri e articoli su Chaplin : molti di essi si trovano tra le Monografie per il
57
loro metodo storico, aim nella Cntica; qui si troveranno solo le memorie e le
biografie romanzesche.
Inoltre avvertiamo che le biografie di registi-attori (Chaplin, Stroheim), che
abbiano il carattere storico accennato, si trovano qui, e non sono npetute nel
seguente paragrafo Biografie di attori .
) - BIOGRAPHIES, MEMOIRES, ANECDOTES
Dans les travaux rassembles ci apres, le temoignage pittoresque I'emporte
sur le dessem critique au point que les etudes stir 1'oeuvre complete d'un regisseur,
celles que dans un certain sens on pourrait considerer comme biographies spin-
tu-elles, ont ete exclues et renvoyees aux Monographies historiques ou a la Cri-
tique. C'est le cas de nombreux livres sur Chaplin beaucoup de ceux ci se trou-
vent parmi les monographies en raison de leur methode historique, d'autres figu-
rant dans la Critique Ici on trouvera uniquement les memoires et les biographies
romancees
Nous signalons d'autre part que les biographies des realisateurs-acteurs (Cha-
plin, Stroheirn) qni ont le caractere historique soulign6, se trouvent ici et ne sont
pas reprises dans la suivante division . Biographies d'acteurs.
C) - BIOGRAPHIES, MEMOIRS AND ANECDOTES
In the "works coming under this heading, picturesque testimony prevails rather
than any critical intention , m fact the essays devoted to the complete work of a
film director and those which might in a certain sense be considered spiritual
biographies, have been left out of this section and will be found under Historical
Monographs or Criticism Several of the books and articles on Chaplin are of this
kind ; many of them will be found among the Monographs owing to their his-
torical style, while others will be found under Criticism ; here only memoirs
and biographies which read like novels will be found.
It should moreover be remarked that the biographies of director-actors (Chap-
lin, Stroheim) having a marked historical character will be found here and will
not be mentioned again in the following paragraph cc Actors* Biographies .
ACKERMAN, Carl William ALLISTER, Ray
George Eastman. Introduzione di Friese-Gieene; Close-up of an In-
Edwin R. A. Sebgman. vcntor.
Boston, New York, Haughton Mifflm London, Marsland PubL, 1948
Co , 1930, pp. 522, ill ANDERS, Franz E.
ALBRECHT, Vladimir In der grunen Holle. Kuibelfahrten
25 wku ~ce slitzbach cerneho iwieni. dutch Nordbiasilien.
(25 anni al servizio delParte vera). Berlin, Scherl, 1937, pp 246.
Praha. ANDERSON, Lindsay
ALLEN, Making a Film. The story of JJ Se-
Les jotes de Hollywood. cret People f \
Paris, Caiman-Levy, 1940. London, Allen and Unwm, 1952.
ALLGEIER, Sepp pp. 223, ill 16
Die Jagd nach dcm Bild. 18 Jahre ANNENKOV, Georges
als Kameramann in Arktis und En habillant les vedettes.
Hochgebuge. Paris, Robert Maran, 1951.
Stuttgart, Englhorn, 1931, pp. 159, ANTHEIL, George
ill. Bad Boy of Music.
58
Garden City (N. Y ), Doubleday-
Doran, 1945.
ANTONGINI, Tommaso
Vita segteta di Gabnele D'Annunzio.
(Cap VII* D'Annunzio e il cine-
ma ).
Milano, Mondaton, 1936.
D'Anntunzio.
Boston, Little, Brown Co , 1938, pp.
533.
ARLAND, R. M.
Cinema bou/fe (Lc Cinema et ses
Gens}.
Pans, Ed. Jacques Melot, pp. 280.
ARNFELD, Julius
Tierfang mit der Kamera.
Halle, Knapp, 1935, pp. 42
ARNOUX, Alexandra
Du muct au parlant. Sou-venns d'un
temoin.
Paris, La Nouvelle Edition, 1946,
pp. 216, ta. 1 t. 8.
ARVIDSON, Linda (Mrs. D. W Grif.
fith)
When the Movies weie Young.
New York, E. P. Dutton and Co.,
1925, pp. 256, ill.
ATASCEVA, Pera & KOROLEVICH,
Vladimir
Erich Stroheim.
Moskva, Kmopechat, 1927, pp 16,
ill.
BARBARO, Umberto
Ricoido di S. A. Lutiani.
in Filmcritica , Roma, I, 2, gen-
naio 1951.
BARKAS, Natalie (Webb)
Behind the Camera.
London, G Bless, 1934, pp. 237, ill.
BECKER, Johannes
Die Tiagodie des William Fox.
Berlin, Berliner Funkstunde, 1931.
Behind the scenes of cc All Quiet on
the western front A dramatic al-
bum.
Los Angeles, Alamore Press, 1930,
pp. 94, ill.
BERSAUCOURT, (de) E. S.
Monde de cinema.
Paris, Chiron, 1927.
BIANCONI, Luigi
D'Annunzio e il cinema.
in cc Bianco e Nero , Roma, III,
n, dicembre 1939.
BOWMAN, William Dodgson
Charlie Chaplm, His Life and Ait.
New York, John Day Co , 1931, pp.
134, ill.
London, George Routledge & Sons,
1931
BOX, Sindney & COX, Vivian
The Bad Lotd Bywn
London, Convoy Publ , 1949
BRAGAGLIA, Anton Giulio
Stefano Pittaluga.
in Cinema , n s , 102, 31 gen-
naio 1953.
BRUNEL, Adrian
Nice Work. Twenty years in British
films.
London, Robertson, 1949. pp. 217,
ill. 12.
BRYAN, George S.
Edtson. The Man and his Work.
Garden City (N Y ), Garden City
PubL, Co., 1926, pp. 350.
BURBIDGE, Claude
Scruffy. The Adventures of a Mon-
grel in Movieland.
London, Hurst and Blackett, 1937
BURGER, Erich
Charlie Chaplin, Bericht seines Le-
bens, Pref. di C. Chaplin.
Berlin, Mosse, 1929, pp. 143.
BURKE, Thomas
City of Encounters.
Boston, Little Brown, 1932.
CAIRN, James
The Hea^t of Holly-wood. (Biogra-
phies)
London, Richard Madley, 1942, pp.
224.
(2 a ed. David S Smith, 1945).
CALVINO Vittono
Guida al cinema. Pref. di Vittorio
De Sica.
Milano, Accademia, 1949, pp 359,
ill , go.
CARANCINI, Gaetano
Alessandro Blasetti.
in: Bianco e Nero , Roma, XIII,
5-6, maggio-giugno 1952.
CARLSON, V. & GOLDSTEIN, H.
Movie Kings.
Minneapolis, Huddle Publ Co.,
I937-3S.
CARR, Hairy C.
How the Gteat Directors Work.
in: ((Motion Picture Magazines,
vol. 29, 128, maggio 1925.
Los Angeles, City of Dreams.
New York, 1935.
Charlie Chaplin's Story; as narrated
by Mr. Chaplin himself to Photo-
59
play magazine's special representa-
tive,
m * Photoplay , luglio, agosto,
settembre, ottobre, 1915
CATELAIN, Jacques
Majcel L'Herbier.
Paris, Vautrain, 1950, pp. 160, ill. 32.
CEN0RARS, Blaise
Hollywood la Mecque du cinema.
Paris, Grasset, 1938, pp 213, 2 a ed
1936.
CHAMSON, Andre
Souyeniis sur King Vidor.
in : La Revue du Cinema , Paris,
u, gmgno 1930.
lo e voi. Trad, di Maria Martone.
Milano, Corbaccio, 1930.
We have come to stay.
in : Ladies Home journal , Phi-
ladelphia., 39 : 12, ottobre 1922.
CHAPLIN, Charles S.
My Tnp Abroad.
New York, Harper, 1922, pp. 155,
ill.
Hut a do Euwpy. (Riflesso d'Euro-
pa). (My Trip Abroad)
Trad, di Ladislav Vymetal.
Praha, Synek, 1929, pp. 146, 8
Wy Wonderful Visit.
London, Hurst and Biackett, 1922,
pp. 221
A Comedian sees the World.
New York, Crawell Publ. Co , 1933,
PP- 58.
Me$ voyages. Trad, di Hourey.
Paris, Kra, 1928, pp. 232, ill. 16.
Scritti su se stesso e still* arte del
film.
in : La figura e 1'Arte di Charlie
Chaplin . (Vedi in Cap. Ill B),
Charlie Chaplin's own story
being the faithful tecital of a ro-
mantic career, beginning with early
recollections of boy-hood in London
and closing with the signing of his
latest motion pictme contract.
Indianapolis, Bobb-Merril, 1916, pp.
357* iH.
(Di tale libro esiste solamente una
copia custodita al Library of Con-
gress di Washington; tutte le altre
furono distrutte dall'editore per or-
dine dello stesso Chaplin).
CHARL0T.
Numero special de Les Chronique
du Jour ,
(Vedi in Cap, III B).
CHAPEROT, Georges
Souvenirs sur Jacques Feydet.
in La Revue du Cinema , Paris,
12, luglio 1930
CHARTIER, J. P. & DESPLANQUES,
R. P.
Den lei e Veer an.
Pans, Ed. Spes, 1950, pp. 192
CHELLE, Gaston
Comment fai filme le depait de$
f ot cats.
in- La Revue du Cinema , Pans,
21, aprile 1931
CHRISTESON, Frances Mary &
CHRISTESON, Helen Mae
Wild Ammal Actois (With an In-
troduction by Frank Buck).
Chicago, Whitman, 1935, pp 157*
ill.
CLAiR, Rene
Reflexion faite. Notes pour servir a
1'histoire de Part cinematographique
de 1920 a 1950
Paris, Gallimard, 1951, pp. 270, 16.
COCTEAU, Jean & (FRAIGNEAU,.
Andre)
Entretiens autour du cinematogia-
phe. Recueillis par Andre Fraigneau.
Paris, Andre Bonne, 1951, pp. 167.
COCTEAU, Jean
La Belle et la Bete; Journal d'un
film.
Paris, Janin J. B., 1946, pp 255,
ill., 8
COISSAC, Georges Michel
Le coulisses du cinema.
Paris, Du Val, 1923 ; Les Edition
Pittoresques, 1929. pp. 216.
COLOMBINI, Umberto
Hollywood, visione che incanla
Torino, Lattes & C., 1929.
CONNERS, Marilynn
What Chance ha-ve in Hollywood?
Intimate Information concerning the
Movie Capital of the Wotld.
New York, 1924.
COOPER, Merian C.
Grasse . (With a Foreword by
William Beebe).
London, Putnam's, 1925, pp. 362, ilL
COTES, Peter & NIKLAUS, Thelma
The Little Fellow. The Life and
Work of C. S. Chaplin.
London, Paul Elek, 1951, pp. i6o >
ill. 38.
COX, Vivian & BOX, Sidney
The Bad Lord Byron.
London, Convoy Publ., 1949.
60
ACROSS, Brenda) a cura di
The Film Hamlet : A Record of
Us Production.
London, The Saturn Press/ 1948.
CRUMP, Irving
The Boy's Book of Newsreel Hun-
ters.
New York, Dodd, Mead and Co.,
1933, pp. 244, ill-
CUENCA, Fernandez Carlos
Historia anecdotica del cinema.
D'AMBRA, Lucio
Sette anm di cinema. Ricordi di
Lucio D'Ambra.
in: Cinema , Roma, n, 14, 15,
16, 18, 19, 21, 22, 25, 28, 29, 33, 35,
III, 39, 25 gennaio 1937-10 febbraio
1938.
{DANISCHEWSKY, M) a cura di
Michael Balcon's 25 Years in Films.
World Films Publ., 1947.
DEANS, Marjorie
Meeting at the Sphinx: Gabriel
Pascal's Productions of Shaw's
<c Caesar and Cleopatra . (With a
forewords by both the author and
producer, Bernard Shaw and Ga-
briel Pascal).
London, Mac Donald, 1946, pp. 146.
DEBRIES, Erwin
Hollywood, wie es wirklich ist.
Zurich, Orell Fuessh, 1930, pp. 56,
ill. 61.
Hollywood as it Really is.
London, Routledge.
DEKEUKELEIRE, Charles
Afnque, journal d'un voyage au
pays noir.
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// / Remembei Right.
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Leningrad, 1927.
BRUNDIDGE, Henry T.
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COCTEAU, Jean
Jean Marais.
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COOKE, Alistair
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The Marx Brothers
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Children of Hollywood.
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Bemamino Gigli.
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DES VALLIERES, Jean
Greta Garbo.
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DROOP, IVtarie Luise
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DUBREUX, Albert
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Paris, Calrnann-Levy, 1952. (Col-
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Stockholm, A. Bonnier, 1938, pp. 244
FAIRBANKS, Douglas
Laugh and Live.
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FARO, William
The Intimate Journal of Rudolph
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FARRAR, David
No Royal Road : Autobiography of
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FERRAU, Alessandro
Isa Miranda. Un'attrice complessa,
una donna seniplice
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39, 40, 41, 42, 43, 44, 45, 46, 47, 4$;
25 settembre 1941 - 26 novembre 1941.
La earner a aitistica di Vittono de
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49, 50, 5i, 52, IX, i, 2, 3, 3 dicem-
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FERRO, Antonio
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Elisabeth Bergnci.
Charlottenmburg, Williams, 1927.
FLOREY, Robert
Pola Negri. Ihr Debut, Ihre Filme,
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Leipzig, Jean Pascal, 1924, pp. 64
FONSS, Olaf
Films erindringer gennem 20 Afar (I).
(Ricordi di film attraverso 20 anni).
Kobenhavn, Nuids Forlag, 1930, pp.
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Kng, Suit og Film. Films erindringer
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(Guerra, fame e film, attraverso 20
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FOWLER, Gene
Good Night, Sweet Pnnce: The life
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Godnatt, dyre pnns. (Buona notte r
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Stockholm, 1945, pp. 359, ill.
FOX, Charles Donald
Ben Turpin (Little Movie mirror
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1925, pp. 143.
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73
FRENSDORFF, Walter
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Stuttgart, FirsUerlag, 1917, pp. 126.
FRENTZ, Hans
Toni van Eyck Rilder emer Ju-
gend.
Leipzig, Erich Wcibe^ahl, 1932,
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GADE, Svena
Mil /Jivs Dn'jbcenc. iTre episodi
delta mia vita)
K<,>htnlia\n, Hissings For lag, 1941 >
pp. 274, ill., 8
GANDIA, Rafael Martinez
Ijoloit* del Rio, la ttiimfadota.
Madrid, Com. II >ero- Americana de
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GANDRUP, Carl
Olat Fonss, en Monogian (Olaf
Fonss, una monografia)
Kohenhavn, Nordi^k Forfatteres
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GARBO, Greta
Ma vie d'ailiste.
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GEHRTS, M.
A Canuta Actiest* in the Wilds of
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Seeley Service, 1915.
GEORG, Manfred
Maitinc Dietrich. Eine Eroberung
cler Welt in sechs IMonaten
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ill 45-
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GERALD, JJm
Du Far-West an cinema,
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N-ew York, Ross Publ. Co., 1920,
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Minors of Hollywood: with, brief
biographies of favourite film folks.
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GHERASIMOV & TURKIN & KU-
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Lizo Sovctskoe klnoaktera. (II volto
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GIOVANNETTI, AcWaao
Figure mute.
Torino, Quartara Editore.
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Pwfily Ceskych tie ten (Profili di
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Praha.
GOLSTEIN, L.
Paul Wcgener.
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GREGOR, Jos^pli
Meistei dcutschet Schampidkunst.
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GUERRASIO, Guido
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Michel Simon.
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Lcc Parry. Die tollkuhne Abenteue-
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Hawld Lloyd Ei ' Dei Welt amu-
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Leipzig, Luna Bucher Vlg , 1924,
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HAMANN, Edith
Lilian Harvey. Em Leben fur den
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Berlin, Hermann Wendt, 1937,
PP- 47
HANZLIK, V. & SMRZ, Karel
Pottdty predmch ccskych filmovych
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ton e di attrici cechi di primo
piano).
Praha, 1922, pp. 49, 8.
HART, William Surrey
Told Under a White Oak; by Bill
Hart's Pinto pony; edited by his
master; with illustrations by James
Montgomery Flagg.
New York, Houghton Mifflin, 1922,
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My Life East and West.
New York, Houghton Mifflin, 1929,
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HEAD, June
Star Gazing.
London, Peter Davies, 1931, pp. 173.
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Olga Tschekowa. Die Karriere einer
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Carola Hohn. Der Weg einer Kunst-
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MENDING, Arnold
Valdemai Psilandei.
Kobenhavn, Forlaget Urania, 1942,
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Olaf Fonss.
Kobenhavn, Forlaget Urania, 1943,
pp. 232, 8.
HENIE, Sonja
Mitt livs evenly}. (L'avventura della
mia vita).
Oslo, Gyldendal, 1938, pp. 94.
Wings on my feet.
New York, Prentice-Hall, 1940,
pp. 177
HERBERT, Joseph
Stars of the Screen.
London, J. S. Ross.
{HERMAN, Ha! C.) a cwa di
How I Broke into the Movies. (Si-
gned stories by sixty screen stars).
Hollywood, The Author, 1921, pp.
127, ill.
Hollywood, The Author, 1930, pp.
127, ill. (2 a ed. riv.). Prefazione di
D. W Griffith.
HESSEL, Franz
Marlene Dietrich.
Berlin, Kindt u. Bucher, 1931, pp
XII/I2, ill. 40.
HOLBERG, Gwstav
Waldemar Psilander.
Berlin, LBB, 1917, pp. 78
Henny Porten . emc Biogtaphie un-
serer behebten Film Kunstlerm.
Berlin, LBB, 1920, pp X/Sy.
HOLENIA, Alexander Lernet & SCHU-
NEMANN, Carl
Greta Garbo cm Wundei in Bil-
dern.
(Vedi Schunemann)
HOLL, Werner
Das Buch von Magda Schneider.
Berlin, H. Wendt, 1927, pp. 56
Das Buch von Adolf Wohlbruck.
Berlin, H. Wendt, 1935, pp. 52. (2 a
ed. : 1936).
Gustav Frdhlich. Kunstler und
Mensch,
Berlin, H. Wendt, 1936, pp. 48
Robert Taylor. Stern aus Hollywood,
Berlin, H. Wendt, 1939, pp. 46.
HORCH, Franz
Paula Wessely. Weg einet Wiene-
rin.
Wien, Wilhelm Frick, 1937, pp. 97,
ill. 106.
HOWARD, Douglas
Pola Negri. Von Brombeig bis Hol-
lywood. (Dt Bearbeitimg von Hans
Lefebre).
Wien, Mein Film Verlag, 1928,
pp. 85.
HUGUES, Elinor
Famous Stats of Filmdom ( Women).
Boston, L. C. Page & Co., 1931,
pp. 341.
Famous Stars of Filmdom (Men)
Illustrated from autographed photo-
graphies.
Boston, L. C. Page & Co., 1932,
PP- 342-
(JONES, Charles Reed) a cura di
Breaking into the IMoTjies.
New York, Unicorn Press, 1927,
pp. 194-
Contiene scritti di . Edwin Car ewe,
Allan Dwan, Ernest Hallor, William
Le Baron, Herbert Hartwell Van
Loan, Frank Capra, Louise Fazen-
da, Harry Langdon, Ken Maynard,
Robert Donahue,
IBACH, Alfred
Die Wessely.
Wien, 1943, pp 78, ill 129
IHERING, Herbert
Von Joseph Kalnz bis Paula H'esse-
ly, Schauspielet von Gestan und
Heute.
Berlin, Leipzig, Heidelberg, 1942,
pp. 248, ill. 16.
Em<& Jammings, Baumeistci seines
Lebens und scinci Filme.
Heidelberg, 1942, ill. 75.
Kathe Dorsch.
Munchen, 1944, ill.
KAFKA, Hans
Hans Albers. Das Mdrchen einer
Karriere.
Wien, Ralph A. Hoger, 1931, pp. 56,
ill- 35-
KAHLBERG, K. (von)
Hanst Knoteck, eme deutsche Film-
schauspielerin.
Berlin, H. Wendt, 1936, pp. 38.
KASTNER, Bnmo
Von mir tiber mich.
Berlin, Morlin, 1921, pp. 16.
75
KEMP, Robert
Edvige Feuilhere.
Paris, Calmann-Levy, 1952. (Collec-
tion Masque et Visages)
KOWA, Viktor (de)
AHerlei mit Pinsal und Blei. Ernste
und heitere Skizzen.
Berlin, 1941, pp. 77, ill.
KUHN, Richard
Greta Garbo. Der Weg ein&} Fiau
und Kunstlerin.
Dresden, Erich Reissner, 1935, pp
222, ill. 31
KURTZ, Rudolf
Emil Jannings.
Berlin, 1942, pp. 42, ill.
KUSMINA & NIKITIN & GHERASI-
MOV & TURKIN
Lizo Sovetskoe kinoaktera (Vedi
Gherasimov)
LAING, E. E.
Gieta Gaibo: The stoty of a spe-
cialist.
Gilford, 1946.
LAMBERT, Gavin
Portrait of an actress . Bette Dams.
in . Sight and Sound , London.
vol. 21, i, agosto-settembre 1951.
LANCHESTER, Elsa
Cliailes Laughton and L A personal
and dramatic biography of the ac-
tor, by his wife.
New York, Harcourt Brace, 1938, pp.
269, ill.
LANGE-KOSAK, Margarcte & MAR-
TINI, Wolfgang
Paul Wegener.
Munch en, C. J C. Andersen, 1928,
pp. 9, ill. 20.
Emil Jannmgs.
Mimchen, C. J C. Andersen, 1928,
pp. 9, ill. 20.
LANGSTED, Adolf
Asia Nielsen.
Kobenhavn, Nyl Nor disk Forlag,
1918, pp. 48, 8~
LASERRE, Jean
La vie brulante de Marlene Dietrich.
Paris, Nouvelle Librairie Francai-
se, 1931.
Marlene Dietrichs levnads saga.
(La saga della vita di Marlene Die-
trich).
Stockholm, 1932
LEFEBRE, Hans
Colleen Moore.
Wien, Bettaners Filmrevue, pp. 79.
LEFEVRE, Rene
Le film de ma vie
Paris, NRF, Galhmard, 1937) PP-
210.
LEIP, Han
Max und Anny. Romantischer Be~
richt vom Aufstieg zweizer sterne.
Hamburg, Broschek, 1935, pp. 209.
LIDO, Srge
Cinema indiscret. Preface de Mar-
eel Achard*
Paris, Noir et Blanc, 1948, pp. 168^
LLOYD, Harold
Mem letzies Buck. Meinen Freun-
den in Europa gewidmet (Dt Bear-
beitung von EL Fraenkel und EL
Lefebre).
Wien, Mem Film-Verlag, 1928^
pp. 126
LOMEYER, Walter Gootfried
Das Otto Gebuhi-Buch
Berlin, Aug Scherl, 1927, pp 102
Victor de Kowa. Die Geschichte ei-
nes Aufstiegs.
Berlin, H. Wendt, 1936, pp. 47.
Long distance shots at the stars t
Being verses on some famous film.
stars
Hatchard, 1939, pp. 24, ill.
LYDOR, Waldemar
Lissi Arna.
Berlin, Dt. Filmwoche, 1929, pp. 32.
(Stars, von denen man spricht, i)^
MAC BRIDE, M. Margaret
Clark Gable.
New York, Star Library, 1932.
Constance Bennett.
New York, Star Library, 1932.
Greta Garbo.
New York, Star Library, 1932.
Robert Montgomery
New York, Star Library, 1932.
MACQUEEN - POPE, W.
Ivor. The Story of an Achievement-
A Biography of Ivor Novello.
London, Allen, 1951, pp. 550.
MAGNUS, Erwm
Asia Nielsen.
Berlin, C. Sabo, pp 16.
MAKIN, William J.
Greta Garbo. Private Lives of the
Film Stars N. i.
London, C. Arthur Pearson, 1935,
pp. 42, ill.
MALKOWSKY, Emil Fer
Ressel Orla.
Berlin, Geschaftstelle d. Verbandes-
Deutschen Filmautoren, pp. 46.
76
<MARA)
Das Lya Mara Buch.
W<ien, Mem Film-Verlag, 1928,
pp. 137.
MARSH, Mae
Screen acting.
Photo Stars Publ. Co., 1921. pp. 129.
MARTINI, Irmganl
Harry Liedtke.
Munchen, Kurt Andersen, 1928, pp.
9, ill. 20.
MARTINI, Wolfgang & LANGE-KO-
SAK, Margarete
Paul Wegener.
Emil Janwng*
(vedi : Lange-Kosak, Margarete &
Martini, Wolfgang).
MASTER, Leslie
Myrna Loy.
London, Pearson.
MAUGE, R. Andre
Gai bo.
in : <c La Revue du Cinema , Paris,
12, luglio 1930.
Gloria Swanson on la joueuse.
in : La Revue du Cinema , Pa-
ris. 21, aprile 1931.
Marlene Dietrich.
in : La Revue du Cinema , Pa-
ris. 27, settembre 1931.
MC LAGLEN, Victor
Express to Hollywood.
London, Jarrolds, 1934, pp. 287, ill.
MIDA, Massimo
Emil Jannings.
in- Bianco e Nero , Roma. XI,
3, marzo 1950.
MIRANDA, Isa
Isa Miranda st mcconta.
in' Film d'Oggi , Milano. n, 12,
*3> 14, *5> *6, 17, 18, 19, 20, 21, 22,
24, 25. 23 marzo 1946-22 giugno
1946.
MITRY, Jean
Emil Jannings.
Paris, Ed Pascal, 1927.
MONAGHAN, Ino
James Mason.
World Films Publications, 1947.
MONTESANTI, Fatisto
La parabola della " Diva if .
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7-8, luglio-agosto 1952.
MUHR, Alfred
Die Welt des Schauspielers Werner
Krauss. Bekentniss und Erlbnisse,
Berlin, Brunnenverlag, 1927, pp. 98,
ill. 30.
Gustav Grundgens, aus dem Tage-
wetk des Schauspielers.
Hamburg, 1943, ill. 118.
MUNKEPUNKE (Alfred Richard
Meyer)
1000% Jannings. Geleitw. : Emil Jan-
mngs.
Hamburg, Prismenverlag, 1930, pp.
188
MUNGENAST, Ernst Morite
Asia Nielsen.
Stuttgart, W. Hadicke, 1928, pp. 157.
NEGRI, Pola
La vie et le rve du\ cinema.
Pans, A.lbin Michel, pp. 128.
NIELSEN, Asta
Den tiende Muse. Vejen til Filmen.
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conduce al film).
Kobenhavn, Gyldendal, 1945, pp. 133,
8. (i vol.).
Den tiende Muse. Filmen. (La de-
cima Musa. II film).
Kobenhavn, Gyldendal, 1945, pp. 210,
ill., 8. (2 vol.,).
NIELSEN, Kay P.
Dagens Mand Mickey Rooney.
(L'uomo del giorno : Mickey Roo-
ney).
Poul Branners Forlag, ill., 8.
NIKITIN & GHERASIMOV TUR-
KIN & KUSMINA
Lizo So-veskoe knoaktera. (Vedi :
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NOBLE, Peter
Hollywood Screen Stars.
London, 1946.
Bette Davis : A Biography.
London, Skelton Robinson, 1948,
pp. 224, ill. 35-
O, BRIEN, P. J.
Will Rogers Ambassador of Good
Will, Prince of Wit and Wisdom.
Philadelphia, John C. Winston Co.,
1935-
OLIVIER, Paul
Raimu, ou la vie de Cesar . Souve-
vtnirs sur 1'illustre comedien.
Paris, Fournier-Valdes, 1947.
OLSEN, Ole
Filmens Eventyr og mit eget. (La
storia del film e la mia).
Kobenhavn, Jespersen og Pios For-
lag, 1940, pp. 226, ill., 8.
PAINE, Albert Bigelow
Life and Lillian Gish.
New York, Mac Millan Co., 1933,
pp. 303, ill.
PALMBORG, Rilla Page
The Private Life of Greta Garbo,
Garden Qity (N. Y.), Doubleday
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PALLENBERG, R.
Das Pnvatleben der Gteta Garbo.
1932.
PETERSON, Roger C.
Valentino the Unf 01 gotten,
Los Angeles, Wetrel, 1937, pp. 256,
ill.
PETROLINI, Ettare
lo e il film sonoro.
Roma, 1932.
Photoplay Arts Portfolios of Moving-
Picture Stars With Biographies and
Autographs
New York, Photoplay Arts Co., 1914,
pp. 20, ill. (4 vol.).
PORGES, Friedhrich
Das Harry Liedtke - Buch.
Wien, Mem Film-Verlag, 1928, pp.
126.
PORTEN, Henny
Wie ich wiwde.
Berlin, Volkskraftervlg., 1919, pp. 69.
Voni Kin top p 22*777 Tonjilm. Em
Stuck miterlebter Filmgeschichte.
Dresden, Reissner, 1932, pp 124.
PROLO, Maria Adriana
Prof Hi: Maria Jacobini.
in <c Bianco e Nero , Roma, XJJI,
7-8, luglio-agosto 1952.
(PSILAN0ER)
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1917, pp. 32, ill., 4-
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QUELL, Angus
William Powell.
London, Pearson.
RABAGLIATI, Alberto
Quattro anni fia le "stelle". Aned-
doti e impressioni.
Milano, Bella, 1932.
RAMBOVA, Natacha
Rudy : An Intimate Portrait of Ru-
dolph Valentino by His Wife.
London, Hutchinson and Co., 1926,
pp. 256, ill.
RAMIN, Robert
Gustav Gnlndgcns.
Berlin, Scherl, 1933, pp. 24.
(Illustrierte Filmbiicher, 13).
BrigHte Helm. Geschichte einer
gluckhaften Karriere.
Berlin, Scherl, 1933, pp. 24.
(Illustrierte Filmbucher, 15).
RAMOMD, Edouard
La vie amoweuse de Rudolph Va-
lentino.
Pans, Baudmiere, 1926, pp. 250, ill.
15, 16.
La vita amoroso* di Rodolfo Va~
lentmo. Trad, di Enrico Picem.
Milano, Mondadori, 1926, pp 280,
ill. IS-
RAPPART, Hugo
Paul Richter, der Mensch imd Kunst-
ler.
Berlin, 1926, pp. 94.
Ramon Novarro Em Lebensroman.
Wien, Mem Film-Verlag, 1928, pp. 95.
REGENT, Roger
Raimu\.
Paris, Chavagne, 1951. (Collection
Le cinema en marche ).
RESNEVIC SIGNORELLI, Olga
Eleonora Duse e il cinema.
in : Bianco e Nero , Roma. X,,
5, maggio 1949.
RICHTER, Hans
Was mancher wissen mochten. Lot-
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Berlin, H. H. Richter, 1919, pp. 26*
RIDEOUT, Eric. H.
The Amencan Film.
London, Mitre Presse, 1937, pp.
163, 8.
ROGERS, Betty
Will Rogers, His Wife's Story.
Indianapolis, Bobbs-Merrill, 1941.
ROSS, J. S.
Stars of the Screen.
London, Joseph, 193/1, pp. 1034.
RUTTE, Miroslav & STECH, Josef
Filmove herectvi. (Atlori del cinema)*
Praha, Ivmhovna Filmoveho
1944, PP 112, 8.
SANDROCK, Adele
Mem Leben. Erganzt und herausge-
geben von Wilhelmine Sandrock.
Mit einem Vorworth von Prof. Gre-
gor.
Berlin, Blanvale, 1940, pp. 274, ill.
SCHENSTROM, Carl
Fyrtaarnet fottaeller (Fyrtaarnet
racconta) .
Kobenhavn, H. Hagerup, 1943, pp.
154, ill-
SCHLAMP, Hans Joachim
Brigitte Horney.
Berlin, Robert MQlich, 1939, pp. 48.
(Kimstler Biographien Bd i).
78
Willy Birgel.
Berlin, Robert Molich, 1939, pp. 48.
(Kunstler Biographien Bd 2).
Lida Baarova.
Berlin, Robert Molich, 1939, pp. 48,
ill.
(Kunstler Biographien Bd 3).
Hans Sohnker.
Berlin, Robert Molich, 1939, pp. 48.
(Kunstler Biographien Bd 4).
Die Partner der Greta Garbo.
Berlin, Robert Molich, 1939, pp. 48.
(Kunstler Biographien Bd 5).
Hans Albers.
Berlin, Robert Molich, 1939, pp. 48,
ill.
(Kunstler Biographien Bd 6).
Kate von Nagy.
Berlin, Robert Molich, 1939, pp. 48.
(Kunstler fiiographien Bd 7).
Albrecht Schoenhals.
Berlin, Robert Molich, 1939, pp. 48.
(Kunstler Biographien Bd 8).
Victor de Kowa.
Berlin, Robert Molich, 1939, pp. 48.
(Kunstler Biographien Bd 9).
Karl Ludwtg Diehl.
Berlin, Robert Molich, 1939, pp. 48.
(Kunstler Biographien Bd 10).
SCHMID, Eke
Plaudereien uber Gunnar Tolnaes.
Berlin, Filmkunstvlg, pp. 70.
SCHUNEMAMM, Carl & HOLENIA,
Al. L.
Greta Garbo: em wunder in bildern.
Mit einleitenden worten von A. L.
Holenia.
Berlin, Ralph A. Hoglr Vgl., 1938
pp. 9, ill. 129.
SCOGNAMILLO, Giovanni
Ritratto di Ivan Hitch Mosjoukine.
in: Bianco e Nero , Roma, XIII,
n, novembre 1952.
SCYBERG, Robert
Billeder paa Vaeggen. (Figure sui
muri).
Kobenhavn, Ny Nordisk Forlag, 1941,
pp. 243, ill., 8.
SERRADIFALCO, L.
Die Liebesabenteu&r des Rudolf Va-
lentino,
Berlin, Rossvlg., 1927, pp. 113.
SHIPP, Cameron
We Barry mores. Lionel Barry more
Told.
London, Peter Davies, 1951.
SMRZ, Karel & HANZLIK, V.
Potrety prednich ceskych fiilmvych
umelkyn e umelcu. (Ritratti di at-
ton e di attrici ceclii di primo piano).
Praha, 1922, pp. 49, 8.
Stars of the Photoplay: Art Portraits
of Famous Film Favorites with.
Short Biographical Sketches.
Chicago, Photoplay Magazine, 1924.
STECH, Joseph & RUTTE, Mirosfav
Filmoue herectvi.
(vedi Rutte, M.).
STEEN, Hans
Rudi Godden. Em Lebensbild nach
eigenhandigen Aufzeichmmgen des
Kunstlers, seiner Eltern und seiner
Freunde.
Berlin, 1941, pp. 144, ill.
STENBOCK, Nils Graf.
Filmstars in Kankatur und Anekdo-
te. Zeichnungen von Stenbock.
Anekdoten gesammelt und neu er~
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von Staats schauspieler Wiktor de
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Berlin, 1941, pp. 173.
STOUT, Wesley Winan
An American Comedy, acted by
Harold Lloyd, directed by Wesley
W. Stout. The stoiy of Lloyd's hila-
rious career.
New York, Longmans and Green,,
1928. pp. 204.
TALMADGE, Margaret L. (Mrs.)
The Talmadge Sisters Nonna, Cons-
tance and Natalie; An, intimate sto-
ry of the world's most famous screen
family. With an introduction by
Ellis Parker Butler.
Philadelphia, J. E. Lippmcott, 1924,,
pp. 254, ill.
TALMEY, Allene
Doug and Maty and Others. With.
woodcut portraits by Bernard Zadig.
New York, Masy-Masius, 1927, pp..
181, ill.
TAYLOR, Robert Lewis
W C. Fields His Follies and For-
tunes.
New York, Doubleday Doran and
Co., 1949.
TEMPLE, Shirley
My Young Life.
New York, Garden Cty Publ. Co.,,
1945.
THOMSON, Niels Th.
Olaf Fonss (i settembre 1903-1 set-
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Kobenhavn, B. Nielsen Junrs For-
lag, 1928, pp. 42, 4-
79
T1MPE, Paul
Lee Parry Harold Lloyd (vedi Ham
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TURKIN & KUSM1NA & NIKITIN
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Lizo Sovetskoe kinoakeera. (vedi :
Gherasimov) .
ULLMAN, S. George
Valentino as I Knew Him. (With an
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New York, Macy-Masius, 1926, pp.
218, ill.
London, Pearson, 1927.
The real Valentino.
London, Pearson, 1927.
URAZOV, Ismail
Asia Nielsen.
Moskva, Kinopechat, 1926, pp. 16,
ill
URGISS, J.
Mia May.
Berlin, lilustnerte Filmwoche, pp. 13,
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TAISFELD, J.
Nikolai Cherkasov.
in : Cult-lira Sovietica , Mexico,
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"VALENTINO, Rudolph
Day Dreams,
New York, Macfadden PubL, 1923,
pp. 143, ill.
How You Can Keep Fit.
New York, Macfadden Publ., 1923,
pp. 76, ill.
l\Jy Private Diary.
Chicago, Occult PubL Co,, 1929,
pp. 314
"VELTMAN, S.
Nikolai Shanghelaia
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1TERDONE, Mario
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W. C. Fields "odiatore" di pro-
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"VINCENT, Carl
Gieta Garbo.
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VOLZ ? Robert
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Hans Sb'hnker. Zwischen Buhne und
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Clark Gable. Eine amerikamsche
Filmlaufbahn.
Berlin, Hermann Wendt, 1937, pp. 48.
Jutte Freybe. Em Madchen setzt
sich durch.
' Berlin, Hermann Wendt, 1938, pp.
46, ill.
Shirley Temple. Ein Kind geht zum
Film.
Berlin, Hermann Wendt, 1939, pp. 46.
Greta Garbo. Dichtung und Wahr-
heit.
Berlin, Hermann Wendt, pp. 48.
WAMBERG, Hlgc
Valdemar Psilander.
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WEINSCHENCK, Harry E.
Wir von BiiHne und Film.
Berlin, Verlag der Filmwoohe, 1939,
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Kilns tier Plaudem.
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WEISS, Emii
My Studio Sketchbook; Introducing
36 famous stars of the British screen,
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WERNER, Use
Ich Hber mich. Mit Beitragen von
Grete Weiser, Johannes Riemann,
Gunther Schwenn
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WHITE, Pearl
Just Me. A queen of the silent mo-
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New York, George H. Doran Co.,
IQTQ, pp 180, ill.
WILD, Roland
Greta Garbo.
London, Rich and Cowan, 1933,
pp. 128.
Ronald Colman.
London, Rich and Cowan, 1933,
pp. 127
WILLIAMS, R. Ewmrt
Clark Gable.
London, C. A. Pearson, 1934, pp.
42, ill
Robeit Montgomery .
London, C. A. Pearson, 1934, pp.
42, ill.
80
WILLIAMSON, Alice Muriel Leslie
Alice in Movieland. Life Stones of the Stats.
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WILSON, Dixie ZELDOVICH, G.
Little Hollywood Stars. Liufoov Orlova.
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pp. 157, ill. ZIERSCH, Waller
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81
CAPITOLO II!
L'Estetlca - La Crltica
A) TRATTATI E SAGGI DI ESTETICA
I libri ed i saggi elencati nella presente sezione trattano .
i prmcipi teonci dell'espressione e del hnguaggio specifici del film;
il problema generate della validita e dell'origmalita del film ed i suoi
rapporti con le altre arti;
la grammatica e la drammaturgia dell'opera cinematografica. Tuttavia le
opere che trattano della tecnica della sceneggiatura in modo prevalentemente
pratlco (ad esempio I numerosi libri di lingua inglese sui metodi per scrivere
uno scenario) si troveranno invece nel Capitolo IV, B.
Inoltre sono qui riportate le opere dedicate all'esame critico delle teoriche
filmiche e al problema del loro insenmento nell'estetica generale,
all 'op era e alia figura dei teorici del cinema
L 'opera di alcuni teorici piu importanti, quali Ei=>enstein, Pudovkin ed altri,
e, salvo qualche articolo che ha evidentemente un posto a se, nportata inte-
gralmente; anche se talvolta alcuni loro scritti esulano dal campo della pura
estetica del cinema, tuttavia contnbuiscono a meglio precisare il pensiero degli
auion e a dare un quadro complete delle loro concezioni del cinema.
A) - TRAITES ET ESSAIS D'ESTHETIQUE
Les volumes et etudes repris dans la presente section traitent:
les principes theoriques de 1'expression et du langage particuliers du film;-
le probleme general de la validite et de Toriginalite du film et ses rapports,
avec les autres arts;
la grammaire et la dramatuigie de 1'oeuvre cinematographique. Toutefois
les Merits qui traitent de la technique du scenario d'une maniere caracteristique-
ment pratique (par exemple les nombreux livres d^origine anglaise sur les metho-
des d'ecnre un scenario) se trouvent par contre dans le Chapitre IV, b.
En plus sont ici citees les oeuvres consacrees a 1'examen critique des theories,
filmiques et au probleme de 1'mcorporation de celles-ci dans Testhetique generak;
a 1'oeuvre et a la figure des theoriciens du cinema.
L'oeuvre de quelques theoriciens importants tels Eis ens tern, Pudowkine sauf
quelques articles qui ont nettement leur place autre part, est signaled ici inte-
gralement; encore que parfois certains de leurs ecrits sortent du domaine de la
pure esth6tique du film, ils contribuent neammoins ^ mieux preciser la penseer
de leur auteur et a donner une vision totale de leur conception du cinema.
82
A) - TREATISES AND ESSAYS ON AESTHETICS
The books and essays listed In this section deal with ,
theoretical principles of expression and the specific language of motion
pictures ;
the general problem of the value and originality of cinematographic art
and its relationship to the other arts;
the grammar and dramaturgy of cinematographic work. Works dealing in
an essentially practical form with the technique of script writing (a large number
of books m English on how to write a screen play, for instance) will however be
found in Chapter IV, B.
Other works coming under this heading are those devoted to a critical survey
of film-making theories and to the problem of inserting them into general aes-
thetics and writings dealing with the work and personality of motion picture
theorists.
Except for some articles which obviously deserve a place to themselves, the
work of some of the most outstanding theorists, such as Eisenstein, Pudovkin
and others, is given here in full. Even if some of what they have written does
not belong to the domain of pure motion picture aesthetics, it nevertheless con-
tributes to a better understanding of the authors' ideas and helps provide a com-
plete picture of their conception of cinematographic art.
ADLER, Mortimer J.
Art and Prudence, a study in practi-
cal philosophy.
New York, Toronto, Longmans Green
and Co., 1937, pp. 686.
ALEKSANDROV, G. V.
(I prmcipi della commedia cmema-
tografica sc/vietica)
in * <c Iskusstvo Kino , Moskva, 5,
settembre-ottorbe 1949.
ALEKSANDROV, G. & PUDOVKIN,
V. & EISENSTEIN, S. M.
Saiavka. (Dichiarazione sul sonoro).
(Vedi (anche per le traduzioni) : Pu-
dovkin, V. & Eisenstein, S. M. &
Aleksandrov, G.).
ALLESCH, Gmstav Johannes
Die asthetische Eischcmungweise der
Farben.
Berlin, Jul. Springer, 1925, pp 157-
ANDREJEVSKIJ, A.
Metodologie zvukoveho filmu. (Me-
todologia del film sonoro).
Praha, Leva Fronta, pp. 31, S.
ANGOTTI, Rosario
Osservazioni sul cinema.
Roma, Cinestudio A.B.C., 1931, pp.
98, 2 a ed. : Roma, A. B.C., 1951.
ARAI, Alberto T.
Voluntad cinematografica; ensayo pa-
ra nna estetica del cine.
Mexico, Editorial Cultura , 1937,
pp. 105.
ARISTARCO, Guido
Teoria di Pudovchin.
in Bianco e Nero , Roma, IX, 5,
luglio 1948.
Germaine Dulac e Hans Rlchter.
in . Bianco e Nero , Roma, X, i,
gennaio 1949.
Teoria di Rotha.
in* Bianco e Nero, Roma, X, 3*
marzo 1949.
Bela Balazs.
in : cc Bianco e Nero , Roma, X, 6
giugno 1949.
Teoria di Eisenstein.
in Bianco e Nero , Roma, XI, i ?
gennaio 1950.
Urgenza di una revisione dell'attuale
indagine critica.
in . Cinema n. s., Milano, III, 48^
15 ottobre 1950.
Lo scenario base del film e nuovo
genet e letterario.
in Cinema n. s., Milano, IV, 65*
i luglio 1951.
Storia delle teoriche del film.
(Vedi m Cap. II, A)
(ARISTARCO, Guide) a cura di
L'aite del film.
(Vedi in Cap. IX).
ARNHEIM, Rudolf
Film als Kunst.
Berlin, E. Rowohlt, 1932, pp. 344, 8.
Film. Translated from the German
by L. M Sieveking and I. F. D.
Morrow. Preface by Paul Rotha.
London, Faber and Faber, 1933, pp.
306, So.
83
11 film come opera d'arte (estratti),
in Bianco e Nero , Roma, II, 4,
aprile 1938,
Soggeitista e direttore artistico.
in L'ltalia Letterana , Roma, 15
maggio 1932.
Contrappunto sonoro.
in : La Stampa , Torino, 20 gm-
gno 1933.
A ptoposito del cinema a colon.
in* Cinema , v. s., Roma, I, 2,
25 luglio 1936.
Psicologm del gag.
in: Cinema v. s., Roma, I, 10,
25 novembre 1936.
Le leggi del colore.
in: Cinema , v. s., Roma, II, 29,
10 setteinbre 1937.
Paesaggio ispiratore.
in: Cinema , v. s., Roma, II, 32,
25 ottobre 1937.
Nttovo Laocoonte.
in : Bianco e Nero , Roma, II, 8,
agosto 1938.
L'attore e le stamp elle.
m: <c Bianco e Nero , Roma, III, 3,
marzo 1939.
The Gestalt Psychology of Expres-
sion.
in: cc Psychological Re view , vol.
56, 1949-
Cinema e psicologia.
in. Cinema , n. s , Milano, II, 23,
30 settembre 1949.
ASSUNTO, Rosario
Piobletnatica delle immagini.
in* Bianco e Nero , Roma, X, 7,
luglio 1949.
AUTORI VARI
Na putiakh iskusstva. (Sulle vie del-
Parte).
Moskva, Isdanie Proletkulta, 1925.
AYALA, Francisco
Indagacion del cinema.
Madrid, 1929.
AYFRE, Amedee
Cinema e realta. Trad, di G. Dmdi.
in. c< Bianco e Nero , Roma, XIII,
i, gennaio 1952.
BAB, Julius
Film mid Kunst.
in Zeitschrift fur Aesthetik tmd
Allgemeine Kunstwissenschafta XIX,
1925-
BALAZS, Bela
Der sichtbare Mensch Oder die Kul-
tur des Films.
Wien, Dt-Oesterr. Verlag, 1924, pp.
167.
Der sichtbare Mensch Eine Fllm-
Dramaturgie.
Halle, Knapp, 1926, pp 167, 80
Kultura Kino
Moskva, 1935.
Filmska Kultura.
Beograd, Filmska Biblioteka, 1948
Filmkultur.
in- cc Filmkunst , Wien, I, 2, 1949.
Filmkultura.
Budapest, Szikra, 1948.
II film.
Torino, Einaudi, 1952.
Der Geist des Films.
Halle, W. Knapp, 1930, pp. 217, 8<>.
Duk Filma. (Lo spirito del film).
Trad, (dal tedesco) di N. Friedland.
Moskva, 1935.
Lo spinto del film. Trad, di Um-
ber to Barbaro.
in : Bianco e Nero , Roma IV, 2,
febbraio 1940.
Lo spmto del film.
in: <c L'ltaliano , Roma, Bologna,
VIII, 17, 18, gennaio, febbraio 1933.
The Futute of the Film.
in : Living Age , Boston, 1930.
Movies for the Middle Class.
in . <c Living Age , Boston, 1930
Le forbici poetiche.
in Occidente , 9, 1934.
La camera creativa.
in: Bianco e Nero , Roma, II, 2-3,
febbraio-marzo 1938.
// film a colori.
in cc Bianco e Nero , Roma, III,
2, febbraio 1939.
Film <t colon.
in : Pagme scelte sul cinema (edi-
to da cc I Quaderni dell'Illustrazio-
ne del Medico , Milano, 42, 1940).
Tipo e fiswnomia.
in cc Bianco e Nero , Roma, V, i,
gennaio 1941.
Sulla so stanza del film.
in : In vi to alle immagini ( Pat-
tuglia , Forli, 1943).
Iskusstuo kino. (L'arte del cinema).
Moskva, Goskmoisdat, 1945, pp. 201.
Filmska Umetnost. (L'arte del ci-
nema).
Beograd, Filmska Biblioteka, 1947,
Filmesztettkal gondolatok. (Pensieri
still 3 estetica cinematografica) .
84
Budapest, Ed. Filintudomanyi late"-
zet, Rakoczi ut 51, 1948, pp. 48.
Realta o venta.
in Bianco e Nero , Roma, XI, i,
marzo 1948.
BANDINI, Baido & VIAZZI, Glauco
Ragionamenti sulla scenografm.
Milano, Poligono, 1945, pp. 104, ill.
81, 8.
BARBARO, Umfaerto
II montaggw.
in * Quadnvio , Roma, 1934.
Problem^ del cinematografo in :
Quadnvio , Roma, 1934.
Film e fonofilm.
in L'ltalfa Letteraria , Roma, 20
aprile 1935-
L'attore cinematografico.
in * Quadnvio , Roma, 23 agosto
1936.
Natura del cinema.
in : <c Lo Schermo , Roma, dicem-
bre 1936.
L'attore cmematografico.
in: Bianco e Nero , Roma, I, 5,
maggio 1937.
L'attore cieatoie.
in : Bianco e Nero , Roma, II,
2-3, febbraio-marzo 1938.
Film . soggetto e sceneggiatuta.
Roma, Ediziom di Bianco e Nero ,
1939, PP- 175, ill-
Soggetto e sceneggiatura.
Roma, Ediziom dell'Ateneo, 1947, pp.
150.
II problems estetico del film.
in <c Bianco e Nero >;, Roma, III, 5,
maggio 1939.
Soggetto e scene gigatura.
in : Bianco e Nero , Roma, III,
7, luglio 1939-
II problcma della prosa cinemato-
grafica.
in Bianco e Nero , Roma, VI, 8,
agosto 1942.
Ancora della terza fase owuerosia
deirarte del film.
in- Bianco e Nero n. s., Roma,
I, i, ottobre 1947.
Discussione su Eisenstein.
in- Bianco e Nero, Roma, XII,
6, giugno 1951. -
BARJAVEL, Rene
Cinema total. Essal sur les formes
futures du cinema.
Paris, Denoel, 1944, pp. 112, 16.
Bruxelles, Editions de 1'Onyx, 1947,
pp. in, i6 a .
Film bez hranic. i Cinema total).
Praha, Cescoslovenke Filmove Na-
kladatelstvi, 1946, pp. 113, 8.
BARNES, Walter
The Photoplay as Literary Art.
Newark, Educational and Recreatio-
nal Guides, 1936, pp. 57.
BEHNE, Adolf
Film und Kunst.
in Zeitschrift fur Aesthetik und
Allgemeine Ktmstwissenschaft ,
XIX, 1925.
BEHR, H.
Kunst und Film.
Munch en, 1942, pp. 41.
BELLONCI, Goffredo
Estetica del cinematografo.
in Apollon , Roma, aprile 1916.
BENOIT-LEVY, Jean
Les grandes missions du cinema.
Montreal, Parizeau, 1945, pp. 348,
ill.
The Art of Motion Picture. (Trans-
lated by Theodore R. Jaeckel).
New York, Coward Me Cann, 1946,
pp. 263.
BERACHA, Sammy
Le mirage du cin6ma: inttoduction
a une esthetique et a une sociologie
du septieme art. (Vedi In Cap. I).
BERTHOMIEU, Andre
Essai de grammar e cinetnatographi-
qne.
Paris, Nouvelle Editions, 1946, pp.
84, 160
BERTI, Vittorio Guerrino
La cinematogiafia. (II suo problema
estetico) .
Roma, Novografia, 1947, pp. 80.
BETTS, Ernest
Heraclitus; or the Future of Films.
New York, E. P. Button and Co.,
1928, pp. 96.
London, Kegan Paul, Trench, Trub-
ner and Co., 1928.
BEYER, Nils
T eater och film. (Teatro e film).
Stockholm, 1944, pp. 177.
BEYFUSS, Edgar
Gtundzilge emei Dramaturgic des
Films.
Berlin. Zentral Verlag, 1925.
BLISKHIN, P. A.
Dramaturgia kino.
Moskva, Tzedram, 1934, pp. 254.
Contiene scritti di : Katerine Vino-
gradskaia, S. A. Yermolinsky, Nik
Pogodin, Skgtev.
85
BOR, Vladimir
O filmove hudebnosti. (La musica ci-
nematografica) .
Praha, Ceskoslovenke Filmove Na-
kladatelstvi, 1946, pp. 103.
BONTEMPELLI, Massimo
Pnmo tempo : muto. Secondo tem-
po : parlato.
in Verdone : Gli intellettuali e
il cinema. (Vedi in Cap. IX).
BOUQUET, Jean Louis & FESCOURT,
Henri
L'idee et I'ecran. (Opinions sur le
cinema).
Paris, G. Harberschill et Q Sergent,
1925, 2 fascicoli, pp. 35 e 36, i6.
BRAGAGLIA, Anton Giulio
Fotodinamica futurista.
Roma, Nalato, 1911.
II film sonoro. Nuoui onzzonti della
cinematogtafia.
Milano, Corbaccio, 1929.
La fotografia del mo-uimento.
in * L'ltalia Lelteraria , Roma, 30
gmgno 1934.
BRANDI, Cesane
Carmine o della pittura.
BROUSIL, A. M.
Film a narodnost. (II cinema e la
nazione).
Praha, Petr, 1940, pp. 30, 8
Praha, Ceskoslovenske Filmove Na-
kladatelstvi, 1946, pp. 57, 8.
Problematika nametu ve filmu. (I
problem! del cinema).
Praha, Petr, 1942, pp. 28, S.
Praha, Ceskoslovenske Filmove Na-
kladatelstvi, 1946, pp. 58, 8*.
CABALLERO JIMENEZ, Ernesto
El cine y la outturn hum-ana.
Bilbao, Imprenta Hispano- America-
na, 1944-
CALENDOLI, Giovanni
Linguaggio ed espiesswne nella sto-
tia del film.
in : Bianco e Nero , Roma, XII,
10, ottobre 1951,
CANUDO, Ricciotto
L'usine aux images. Preface de Fer-
nand Divoire.
Paris, Edition Chiron, 1927, pp 172.
Geneve, Office Central d'Edition, id.
L'estetica della settima arte.
in : Problemi del film (fascicolo
speciale di ec Bianco e Nero , Roma,
III, 2, febbraio 1939),
Cinema e teatro.
in * Pagme scelte sul cinema , a
cura di Emiho Ceretti.
(edito da <c I Quaderni dell'Illustra-
zione del Medico , Milano, 42, 1940).
CARNELUTTI, Francesco
Cinematogra/o e rappresentazione.
in Bianco e Nero , Roma, X, n,
novembre 1949.
CASTELLI, Enrico
Filosofw del personaggio e sequvn-
za -filmica,
in . Bianco e Nero , Roma, XIII,
n, novembre 1952.
CAVALCANTI, Alberto
L'etude di* cinema en tant que moyen
d' expression.
in Bianco e Nero , Roma, II, i,
gennaio 1938.
CECCHI, Emilio
Che cos j e il cinema?
in Mercuric , 22, gmgno 1946; e
in Verdone Gli intellettuali e
il cinema (Vedi in Cap. IX).
CESSI, Riccardo
I Hnguaggi del film.
in* Bianco e Nero , Roma, X, 8,
agosto 1949.
CHAPLIN, Charles Spencer
Can Art be Popular?
in Ladies home journal , Phi-
ladelphia, 41 : 34, ottobre, 1924.
The Future of the Silent Picture.
in- ((Windsor Magazine)), London,
84, settembre 1936.
Wisdom from a Wise Man.
in: ((Theatre Guild Magazine , INew
York, 8, 7, marzo 1931.
What People laugh at
in American Magazine , 86, no-
vembre 1918.
CHESTERTON, Gilbert Keith
Eccesso di rapnditd, nel cinema.
in Verdone : Gli intellettuali e il
il cinema. (Vedi in Cap. IX).
da Chesterton : Generally Spea-
king , e in Illustrated London
News , 1917.
CHIARINI, Luigi
Cinematogiafo. Pref. di Giovanni
Gentile
Roma, Ed. Cremonese, 1935, pp. 122,
160 (ill. di N. C. Corazza).
II film come traduzione.
m Lo Schermo , Roma, i, 2, set-
tembre 1935.
Intraducioilita del film.
in . Lo Scherrno , Roma, agosto
1936.
86
II film e wi'aite, il cinema e un'in-
du stria.
in. Bianco e Nero , Roma, II, 7,
luglio 1938.
Cenni sull j estetica del sonoro.
in . a jLa registrazione del suono di
Libero Innamorati e Paolo Uccello,
Roma, Edizioni di Bianco e Nero ,
1939-
La musica nel film.
in Bianco e Nero , Roma, III, 6,
giugno 1939.
II film come forma assoluta.
in: Pnmato , Roma, 15 ottobre
1940.
Cinque capitoh sul film.
Roma, Edizioni Italiane, 1941, pp.
146, ill. 31.
Soggetto c film.
in . cc Quadnvio , Roma, 23 agosto
1942.
La regia
in Enciclopedia del cinema , Ro-
ma, Ediz Palatina, 1946, pp. 112.
II film nei problemi dell'arte.
Roma, Edizioni dell'Ateneo, 1949, pp.
196, 80.
Secondo comandamento .
in L'eco del cinema e dello spet-
tacolo , Roma, III, 16, 15 gennaio
1952.
'CHIODAROLI, Gian Franco
La poetica del cinema.
in- ((Cinema, Milano, n. s., 102,
31 gennaio 1953.
CHURCHILL, Winston
Everybody's Language, can silent
movies ever come backf
in : Colliers , 96, ottobre 1935.
CINTIOLI, Giuseppe
Per una lettwa del film.
in Cineclub , Reggio Calabria,
10-11, gennaio-febbraio 1952.
Di alcune ragioni del film.
in : Cineclub , Reggio Calabria,
8, ottobre 1951.
CIRKOV, A.
Ocierki dramatuigi filma. (Studi sul-
la drammaturgia del film).
Moskva, Goskmoisdat, 1939, pp. 104.
CLAIR, Rene
Caiactere du recit cinematographique.
in : La Revue du Cinema , Paris,
5, febbraio 1947.
COCKSHOTT, Gerald
Incidental Music in the Sound Film.
London, British Film Institute, 1946,
pp. 8.
COGNI, GIulo
La musica, la -parola, I'immagine.
in Bianco e Nero , Roma, V, 7, S,
luglio, agosto 1941.
C0LLINA, Vittorio
II cinema e le arti.
Faenza, Fratelli Lega Editor!, 1936.
COMIN, Jacopo
Per una teona dell'esptessione cine-
matografica.
in Bianco e Nero , Roma, I, 6,
giugno 1937.
CONSIGLIO, Alberto
Intwduzione ad uifestetica del ci-
nema e altn scritti.
Napoli, Ed. Guida, 1932, pp. 168.
Cinema: aite e linguaggio,
Milano, Hoepli, 1936, pp. 206, tav.
f. t 96, 16*.
Cinema XX secolo.
Roma,, Ed. Faro, 1947, pp. 156.
COVI, Antonio
II cinema come espressione artistica.
m Bianco e Nero , Roma IV, 10,
ottobre 1940.
CROCE, Benedetto
Una letteta.
in ((Bianco e Nero , Roma, IX,
10, dicembre 1948.
CRUILLAS, Gabrieie
Estetica generate della cmematogm-
fia sonata.
Roma, Imperium, 1936, pp. 96.
DEKEUKELEIRE, Charles
Le cinema et la pensee.
Bruxelles, Les Editions Lumiere,
1947, pp. 113, 80.
(Collection Savoir n. 13).
DEL AMO, Antonio
Histojia universal del cine. (Vedi
m Cap. II, A).
El cinema como linguaje.
Madrid, Rehyma, 1948, pp. 186,
ill., 80.
DELLUC, Louis
Photogtnie.
Paris, De Brunoff, 1920, pp. 127, ill.
15, So.
Photogenie (estratto).
in : Lapierre, M. : Anthologie da
cinema (vedi in Cap. IX).
La nalssance du cinema ou la nais-
sance de Vamour du cinema.
in L J Herbier, M. : Intelligence
du cinematographe (vedi Cap. IX).
Confidences d'un spectateur.
87
Ibidem.
Prologue a Drames de cinema .
in: Cine-Club, Paris, II, 6, mar-
zo 1949 (vedi : Delluc, in cap. X).
DEREN, Maya
An Anagram of Ideals on Art, Form
and Film.
Yonkers, New York, Alicatt Book
Shop Press, 1946, pp. 52.
I cineridottisti e il montaggw crea-
ti'vo.
in Cinema , Milano, n. s., 98,
30 novembre 1952.
DIAZ PLAJA, G.
Una cultwa del cinema: introducion
a una estetica del film.
Barcelona, Ed. cc La Revista , 1930.
DI GIAMMATTEO, Feraaldo
Significato e conseguenze del lin-
guaggio cinematografico.
in <c Bianco e Nero , Roma, XI, 3,
marzo 1950.
BOVJENKO, Alexandb-e
Profession de foi d'un metteur en
scene sovietique.
in: Revue du Cinemas, 14, set-
tembre 1930.
DREYER, Carl Hi.
Lidt om filmstil. (Sullo stile del film).
in: Politiken , Kobenhavn, 2 di-
cembre 1943.
Lo stile del film.
in: Cinema , Milano, n. s., 97,
i febbraio 1952.
DULAC, Germaine
L'essence du cinema. L J idee visuelle.
in: Les Cahiers du Mois , Paris,
16-17 (numero speciale), 1925.
Les esthetiques, les entraves, la ci~
negraphie integrate.
in: L'Art Cmmatographique ,
vol. II (vedi in Cap. I).
Films visuels et antivisu\els .
in : Le Rouge et le Noir , Paris,
luglio 1928.
Visibility du cinema.
in: Le Rouge et le Noir , Paris,
1928.
Visivita del cinema. Trad, di Gra-
ziella Fabbri Fernaldo Di Giammat-
teo.
in: c Invite alle immagini , Forli,
Pattuglia, 1943.
La cine'graphie integrate.
in : Lapierre, M. : Anthologie dn
cinema (vedi).
DULLIN, Charles
L'emotion humaine*
in: L'Art Cmematographique >
vol. I (vedi in Cap. I).
EICHENBAUM, B. M.
Poetika kino. (Poetica del cinema).
Moskva, Kinopechat, 1927.
EISENSTEIN, S. M.
Montazh aktrakzwnov, (Montaggio
delle attrazioni).
in : <c Lev , Moskva. 3, 1923.
Montaggio delle attrazioni
in: Cinema n. s., Milano, II,,
10, 15 marzo 1949.
D-va cerepa Aleksandra Makedon-
skovo, (Le due corazze di Alessan-
dro il Macedone).
in: Novij Zritel . 36, 1926.
Perpspektiv.
in: Iskusstvo , Moskva. 1-2, 1928.
Po tu storonu igrovoi i neigrovoi.
(Al di la della recitazione e non re-
citazione.
in : Elino , Moskva. 12, 1928.
O forme szenaria. (La forma della
scenario) .
in : Biulleten Berlinskovo Torg-
predstva , Berlino. 1-2, 1929.
The New Language of Cinemato-
graphy.
in : Close Up , London. IV, 5,.
maggio 1929.
La dramaturgic du film.
in : Bifur , Paris. 5, 1930.
Drebuchf Nein: Kinonovelle f
Prefazione a Der Kampf um die
Erde . (Die Generallinie) . (vedi in
Cap. X).
A Russian View of Scenarios.
in : New York Times , New York.
30 marzo 1930. (estratto da : Dreh-
buch ? Nein : Kinonovelle [Die
Generallinie]). (vedi in Cap. X).
Les principes du nouveau cinema
russe.
in : La Revue du Cinema , Pa-
ris. 9, aprile 1930.
Los principios del miievo cinema
russo.
in: Nuestro Cinemas. 8-9, 1933.
The Fourth Dimension in the Kino.
m : <c Close Up , London. VI, 2, 3,
marzo e aprile 1930. (tradotto da
un articolo in : Kino , Moskva.
34, 1929)-
The Dynamic Square. Translated
by W. Ray.
in * <c Close Up , London. VIII, i
e 2, marzo e giugno 1931.
in: cc Hound and Horn , New York.
IV, 3, aprile-giugno 1931.
The Principles of Film Form. Trans,
(from the Russian) by Ivor Mon-
tagu.
in Close Up , London. VIII, 3,
settembre 1931.
Principi della forma cinematografica.
in . L'ltalia Letteraria , Roma,
maggio 1932.
I pnncipi della forma filmica.
in : cc Bianco e Nero , Roma. XI,
i, gennaio 1950.
The Intellectual Cinema.
in: c< Left , Davenport (Iowa). I,
Autumn 1931.
Detective Work in the G.LK. (State
Institut of Cinematography).
m : Close Up , London, vol. IX,
4, dicembre 1932.
October and Art.
in : Soviet Culture Review . 7-9,
1932.
in: International Literature , Mo-
scow, ottobre 1933.
in : The Daily Worker , New
York. 29 gennaio 1934.
Cinematography with Tears.
in : Close Up , London, X, i, mar-
so 1933.
An American Tragedy.
in: ((Close U*p , London. X, 2, gra-
gno 1933.
On Fascism, the German Cinema,
and Real Life.
in : International Theatre , Mo-
scow. Ottobre 1934.
Sriedniaia is trek. (II termine me-
dio).
in : Sovietskoie Kino , Moskva.
11-12, 1934-
The New Soviet Cinema; entering
the fourth period. Trans, by Leon
Rutman.
in: c New Theatre?), New York,
vol. 2, 21 gennaio 1935. (tradotto
da : Literaturnaja Gazeta , Mos-
kva. 154, novembre 1934).
Soggetto e sceneggiatura.
in: L* Italia Letteraria , Roma. 2
marzo 1935.
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Color and meaning - IV Form and
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Uber den Filmschnitt. (I)
in: <(Film Kunst , Wien. I, i*
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Vyvoj sovetske" filmo-ve rezie.
(Sviluppo della regia cmematografi-
ca sovietica).
95
Trad, (dal russo) di Lubomir Linhart.
Praha, Leva Fronta. pp. 20, 8.
PUDOWKIN, W. (Vsevolod llano-
novic)
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Berlin, Liicht-Bild-Biihne, 1928, pp,
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S. M. & ALEKSANDROV, G.
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in . Monde , Pans, i settembre
1928
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in : Vincent, Histoire de Part cine-
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The Sound Film.
in Close Up , London, ottobre
1928.
Un manifesto del 1928.
in : Cinema v. s., Roma. V, 108,
25 dicembre 1940.
QUINT, Leon-Pierre
Signification du cinema.
in : L'Art Cinema tograpnique , vol.
II (vedi m Cap. I).
*QU1RQZ, Alberto
Nociones de estetica ctnematografica.
Mexico, DF el Autor, 1942 pp. 138,
ill.
3UGGHIANTI, Carlo Ludovico
Cinematografo rigoroso.
in : Cine-Convegno (supplements
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I, 4-5, 25 giugno 1933-
Cinematografo e teatro.
Pisa, Pacini, 1936. pp. 36.
'Croce e il film come arte.
in Bianco e Nero , Roma IX, 8,
'Ottobre 1948.
Connessioni e problemi: discorso este-
tico.
"in : Bianco e Nero , Roma. XI,
$-9, agosto-settembre 1950.
I problemi artistici e tecnici del film.
in * Bianco e Nero , Roma. XI,
^o, ottobre 1950.
Immagine e parola.
in : Cinema n. s., Milano. Ill, 47,
rsr ottobre 1950.
Ancora del teatro come spettacolo.
in : Bianco e Nero , Roma. XII,
6, giugno 1951.
Cinema arte figurativa. (Raccolta di
saggi deirautore).
Torino, Einaudi, 1952. pp. 259, ill.
112, 8.
RAST, Josef
Drama und Spiel film.
Olten, Komm. Walter, 1942. pp 127.
RASTELLI, Dario
La regia.
in : Bianco e Nero, Roma IV, 9, set-
tembre 1940
RATH, Willy
Kino und Buhne.
Munchen, Gladbach, Volksvereins-
verlag, 1913. pp. 52.
REHLINGER, Bruno
Der Begnff Filmisch.
Emsdetten, Verlagsanstalt H. u. J.
Lechte, 1938, pp. 114.
RENDA, Antonio
Liici ed ombre del realismo cstetico.
in: Bianco e Nero , Roma, XIV,
i, gennaio 1953.
REUMONT, Eugene
Essai stir le cinema.
Mons. Ed. La Province, 1934 pp.
48, 4
RICHTER, Hans
Filmkntische Aufsdtze. Raccolta di
articoli apparsi sulla rivista Kino .
Berlin, Richter, 1920, pp. 123.
Der Spielfitm. Aufsatze zu emer Dra-
maturgie des Films.
Berlin, Vlg H. H. Richter, 1920.
pp. 125.
Film-Gegnet -von Rente, Film-Fietin-
de -von Morgen.
Berlin, Verlag H. Reckendorf, 1929.
pp. 125, ill.
Film-Gegner von Heute, Film>~Freun-
de von M or gen. Estratti in italiano.
in : Problemi del film a cur a di
Umberto Barbaro e Luigi Chiarini.
(((Bianco e Nero , Roma. Ill, 2,
febbraio 1939).
Voir du mcrueilleux.
in: La Revue du Cin6ma , Paris.
II, 7, estate 1947.
Funzione del cinema sperimentale.
in : <c Cinema , Milano, n. s., 97,
i novembre 1952.
ROSSANI, Wolfango
II cinema e le sue forme espressi-ue.
(Appunti di critica estetica).
Fiume, Quaderni di . Termini
(n. 11), 1941. pp. 166.
96
KOTHA, Paul
Film Till Now. (vedi m Cap. II, A).
Awenire del documentano.
in : Intercme 3 Roma. VII, 8, ago-
sto 1935.
It's m the Script.
in : World Film News , London.
5, settembre 1938,
Introduzione al cinema.
in. ccBianco e Nero , Roma. Ill,
2 febbraio 1939.
Anahsi del film.
in . cc Bianco e Nero , Roma. IX,
3, maggio 1948.
ROTT, Leo
Die Kunst des Kmos.
Wien, Eigenverlag, 1921. pp. 58.
RUSKQWSKI, Andre
Cinema ait nouvcau.
Paris, Ed. Penser Vrai, 1940.
SALMON, Heinz
Dei Km emato graph.
Dresden, 1915.
Die Kunst im Film. Die Theorie der
temen Filmkunst auf der Grundlage
ihrer Mittel, Kntische Zeitbetrach-
tungen.
Dresden, Wembohla, Aurora Verlag,
1921. pp. 162.
SCERVINSKIJ, S.
Suscenost kmcmalogiajicesko'vo is-
kusstva (La sostanza dell'arte cine-
matografica) m Eanematogral, Mo-
skva, VFKO, 1919.
SCHAMONI, Victor
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soluten Films.
Hamm, Rermann, 1936. pp. 92.
SCHERER, Maurice
Le cinema, art de I'espace.
m . La Revue du Cinema , Paris.
14, g-mgno 1948
SCHULZ, Leo
Beitrage zur Diamatuigie des Kmos
Eine Studie.
Wien, 1923. pp 207.
SCIASCIA, Ugo
Estetica con Dio, estelica senza Dio.
in : L'Eco del Cinema e dello Spet-
tacolo , Roma II, 10, ottobre 1952.
SCIPULINSKIJ, F.
Duk k no \Lo spirito del cinema)
in . Kinematograf Moskva, VFKO,
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SCOTESE, G. M.
Introduzione al cinema.
Roma, Editrice A. V. E., 1941. pp.
280, ill. 137, 8.
SPERI, Pietro
Sulla "revisione".
in- CInechib , Reggio Calabria. 10-
ii, gennaio-febbraio 1952.
SPITZ, Jacques
La poesie du cinema.
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I 8, gennaio 1931.
SPOTTISWOODE, Raymond J.
A Giamniar of the Film. An analysis
of film technique.
London, Faber and Faber, 1935. pp.
326, ill.
Grammatical del film.
Roma, Ed. Bianco e Nero , 1938. 8.
STINDT, Georg Otto
Das Lichtspiel als Kunst f 01 m. Die
Phtlosophie des Films, Regie, Dta-
maturgie und Schauspieltechnik.
Bremenhaven, Atlantis, 1924, pp. 117.
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Az igazi filmmuveszetrol.
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nal Nyomda
TADDEI, Nazareno s. j.
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in: Bianco e Nero , Roma, X, i,
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TANNENBAUM, Herbert
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II cinema e arte a sef
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Le cinema dans la serie des arts.
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i6<>.
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Kino actior. (L'attore del cinema).
Moskva, 1929.
Dramaturgija kino. (Drammamrgia
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Moskva, Goskinoisdat, 1938, pp. 264.
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Una estetica del cine.
Barcelona, Editorial Seix Barral,
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Wege zu einer Film-Kunst.
Berlin, Falk, 1913, pp. 30.
VALENTIN, Albert
Introduction de la magie blanche et
noir.
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II hnguaggio filmico e le Mime ri-
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II).
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Pans, 15 aprile 1936.
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Cinema (vedi).
VIAZZI, Glauco & BANDINI, Baldo
Ragionamenti sulla scenografia.
(Vedi: Bandini, B.).
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Poetica ambientale o della
in: Bianco e Nero , Roma, V, 3,
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Appunti e problemi per un sistema
analiticO'ClassificaU-vo .
in : Bianco e Nero , Roma, V, B 3
agosto 1941.
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II movimento e il ritmo cinemato-
grafico.
in: Bianco e Nero , Roma, VI, 3^
mar?o 1942.
VINCENT, Carl
L'esthetique du film. Essai.
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pp. 103, ill .12.
VOSSNESSENKIJ,
Iskmstuo ekrana. (L'arte dello
schermo).
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VUILLERMOZ, Em.
La musique des images.
in : <c L'Art Cmematographique >,
vol. III. (Vedi in Cap. I).
WEGENER, Paul
Der Zukunft des Films.
Discorso tenuto alia Filmliga (1920)^
Estratto da :
Der Spiegel, 1920, vol. 24.
WHITE, Eric Walter
Parnassus to Let. (An Essay about
Rythm in the Films).
London, The Hogarth Press, 1928^
pp. 48, 16.
B) SAGGI CRITICI
In questa sezione sono raccolti i saggi dedicati soprattutto all'analisi del
film, e ai suoi metodi.
Crediamo tuttavia che sia opportnna qualche parola di piu per chiarire me-
glio la definizione di Critica quale & stata usata da noi in questa classifi-
cazione. All'atto pratico, in realta, non e facile usare classificazioni come
< Storia , Estetica , Critica , benche si sappia benissimo la differenza tra
Puna e 1'altra : sono molto freqnenti i saggi, e parecchi anche i libri, in cui
i principi estetici vengono chiamati a convalidare i giudizi critici, e i fattl
storici a dimostrare la validita delle affermazioni teoriche.
Premesso cio, vale a dire che non sempre una divisione netta e possibile^
ci sembra tuttavia di poter fare tina fondamentale distinzione Panalisi del film y
delPopera completa di an regista puo -essere condotta sul piano storico oppure-
no, Abbiamo gia accennato altrove a quelli che riteaiamo i principi fondamen-
tali del metodo storico; ora possiamo aggiungere che la figura d*un regista pu6>
esser esaminata trascurando completament-e, come nell'esemplare saggio di
sinzev sull'arte di Chaplin, il riferimento alia cronologia del fatti, lo studio di
qualsiasi processo evolutive ed ogni altro elemento storico. E' evidente che una
tale analisi non potra considerarsi che <c critica .
Un'altra constatazione potr chiarire ancora la defimzione. L'analisi di opere
contemporanee, o dalle quali ci divide troppo poco tempo, difficilmente pu6
entrare nella stonografia : la storia esige una certa prospettiva Da cid deriva
un 'altro criteno di classificazione, che pud essere di convenienza, ma che, unito
a quello di distinguere un saggio a seconda del metodo con cui e stato scritto, lo
completa efficacemente abbiamo mcluso nella critica 1 'analisi di film e di avve-
nimenti contemporanei, abbiamo rmviato nelle Monografie Storiche gh scntti
su fatti e figure ormai appartenti al passato.
Le differ enze tra la Critica e 1'Estetica sono di per se evident! : Pattivita
teorica e speculativa e troppo ben definita perche confusioni siano possibili.
Vogliamo solo accennare alia possibilita di contatto tra di loro : un esempio
potrebbero essere alcuni dei saggi sulla Revisione critica che nel discutere
un nuovo onentamento critico non possono fare a meno di proporre delle modi-
ficazioni di prmcipi teorici.
Fornite queste spiegazioni sui criteri di classificazione la sezione <c Critica
apparira al lettore sufficientemente omogenea, come pure risultera chiara la
ragione del suo mserimento nel Capitolo III, dopo che sono gia state elencate
tutti i lavori storici e gli scritti storici.
B) - ESSAIS CRITIQUES
Dans cette section sont rassembles les essais essentiellement consacres a
Panalyse de films et a ses methodes.
Sans doute est il necessaire de bien clarifier le sens que nous avons entendu
donner a la parole critique .
En pratique, il n'est pas facile d'user de classification comme histoire, esth6~
tique, critique bien que Ton connaisse les differences entre Pune et Pautre : sont
nombreux les essais et parfois les volumes dans lesquels les principes esthetiques
sont appeles a convalider le jugements critiques, et les faits historiques a demon-
trer la validite des affirmations theoriques.
Considere qu'une division nette n'est pas tou jours aisee, il nous parait que
nous pouvons nous baser sur une distinction fondamentale : Panalyse du film,
de Poeuvre complete d'un realisateur peut toe conduite stir le plan historique
ou non. Plus avant nous avons fait allusion a ce que nous considerons comme les
principes fondamentaux de la methode historique; ajoutons que la figure d'un
realisateur peut-tre consideree en negligeant completement, comme dans 1'essai de
Kosuizev sur Part de Chaplin, toute reference a la chronologic des faits, toute
etude d'un quelconque processus devolution et tout autre element historique. II
est Evident qu'une telle analyse ne peut se considerer que critique .
Une autre constatation peut encore eclairer la definition. L J analyse d'oeuvres-
con temporaries ou d'oeuvres qui sont peu lointaines dans le temps peut difnci-
lenient entrer dans Phistoriographie : Phistoire exige, en effet, une certaine per-
spective. II en resulte un autre critere de classification, que Pon peut considerer
de pure convenance, mais qui uni a celui de la caracterisation d'en essai selon la
methode d'apres laquelle il a etc ecrit, revet une certain efi&cacit6 : nous avons
inclus dans la critique les analyses de films et d'evenements contemporains, nou&
avons renvoye aux monographies historiques, les ecrits sur les faits et figures
appartenents desormais au passe.
Les differences entre la critique et PSsthetique sont de par elles mmes evi-
dent es : Pactivit< theorique et speculative est trop bien definie pour que les con-
fusions soient possibles. Nous voulons simplement faire allusion & la possibility
de contacts entre elles : de tels contacts peuvent etre deceles dans quelques essais.
sur la revision critique . A travers la discussion de nouvelles orientations cri-
99
tiques ils ne manquent pas de proposer de modifications des prmcipes theoriques.
Ces explications fourmes sur les criteres de classification, la section critique
apparaitra sans doute au lecteur homogene, comme d'autre part apparaitre claire
de la meme facon, la raison de son introduction dans le Chapitre III, a la suite
des travaux histonques et des ecnts theoriques.
B) - CRITICAL ESSAYS
In this section will be found essays devoted mainly to the analysis of films
and its methods.
We feel however that a few words aiming at giving a clearer definition of the
term criticism as it has been used by us in this classification will not come
amiss. As a matter of fact it is not easy to use classifications such as History ,
Aesthetics and Criticism , although we are perfectly aware of the difference
existing between them. There are a number of essays, and also several books, in
which aesthetic principles are called upon to support critical opinions and his-
torical facts to prove the truth of theoretical assertions.
Having made this premise, namely that a clear division is not always pos-
sible, it seems to us however that a basic distinction may be made . the analysis
of a film or of the complete work of a film director may or may not comply with
what we have already referred to as the basic principles of the historical method.
It should be added that the personality of a film director may be examined with
the most complete lack as in Kosinzev's exemplary essay on Chaplin's art
of any reference to the chronology of the events, of any study of evolutionary
processes and of any other historical element. Evidently any such analysis can
only be classified as criticism .
Another remark may make this distinction still clearer. The analysis of con-
temporary works, or of those from which too short a time separates us, can sel-
dom find a place in historiography : history requires a certain perspective. We
thus have another principle of classification which may be merely a matter of
convenience but which, coupled with that of distinguishing an essay according
to the method in compliance with which it is written, completes the latter ef-
fectively. We have included in the critical section the analysis of contemporary
films and events and have classified as Historical Monographs such writings as
regard facts and figures which now belong to the past.
The differences between Criticism and Aesthetics are self-evident, theoretical
and speculative considerations ar-e too well defined for any confusion to be pos-
sible. All we wish to mention is the possibility of a contact between them; an
instance of this might be found in some of the essays on Critical Reviewing
which, m discussing a new critical trend, can hardly refrain from suggesting
changes m theoretical principles.
Once these explanations have been given concerning the principles adopted
for purposes of classification, the section entitled Criticism should strike the
reader as homogeneous enough and its inclusion in Chapter III, after all the
historical works nd historical writings have been dealt with, quite understan-
dable.
100
(AKUSCKOV, S. & ATASCEVA, F.)
a cura di
Ciatliz Spenser Ciaphn.
Moskva, Goskmoisdat, 1945, pp. 204,
8.
Sommario : (Vedi traduzione italia-
na sotto Bleiman, M.).
Charles Spencer Chaplin.
Praha, Ceskoslovenske Filmove Na-
kladatelstvi, 1946, pp. 168, ill. 25, 8.
(Vedi Bleiman, M.).
AGATE, James
Around Cinemas.
London, Home and Van Tahl, 1946,
pp. 280.
(Collezione d'articoli e studi diversi
apparsi tra il 1921 e il 1945).
AGEL, Henri
Le cinema a-t~il une dme ?
Paris, Ed. du Cerf, 1952, pp 118,
ill. 15, 16.
AGUILAR, Santiago
El genio del septimo aite: apologia
di Chariot.
Madrid, Com. Ibero-Americana de
Publicaciones, 1930, pp. 230, ill.
AHMAD ABBAS, Khwoja
Le cinema hindou.
in Le cinema a Knocke-le-Zoute .
(Vedi in Cap. IX).
ALTMAN, Georges
La nature dans le film.
in' La Revue du Cinema , Paris,
27, settembre 1931
AMENGUAL, Bartnelemy
Pr evert rosso e nero.
in: c Cinema , Milano, n. s., 104,
28 febbraio 1953.
ANSTEY, Edgar & LINDGREEN, Er-
nest & MANVELL, Roger < RO-
THA, Paul
Shots in the Dark.
London, Allan Wingate, 1951, pp.
268, 8.
ARGAN, G. C.
Lettura cmematografica delle opere
d'arte.
in : Bianco e Nero , Roma, XI,
8-9, agosto-settembre 1950.
ARISTARCO, Guido
II festival dell'Arlecchmo.
in* c Cinema n. s., Milano, II,
14, 15 maggio 1949-
A Locarno non si addicono le pre-
miazioni uffteiali.
in : Cinema n. s., Milano, II,
19, 31 luglio 1949.
Vale soltanto l\ escluso . La Mo-
stra di Venezia. (I).
in . Cinema n. s., Milano, II,
21, 30 agosto 1949.
Aveva tagione Duuivier. La Mostra
di Venezia. (II).
in Cinema n. s , Milano, II,
22, 15 settembre 1949.
Cannes : Set-Up. Secondo tempo,
in (( Cinema n s., Milano, II,
23, 30 settembre 1949
Dolon della citta proibita. II V Fe-
stival svizzero.
in: Cinema n. s,, Milano, III,
43, 30 luglio 1950
All'ombra del destine. La Mostra
di Venezia. (I).
in . Cinema n. s , Milano, III,
45> 30 agosto 1950.
Alia rlcerca di Dio. La Mostra d'Ar-
te (II).
in : Cinema n s , Milano, III,
46, 15 settembre 1950.
Urgenza di una revistone dell'attua-
le indagine cntica.
(Vedi in Cap. Ill, A).
La violenza e la Grazia. La Mostra
di Venezia. (I).
in: Cinema n. s., Milano, IV,
70, 15 settembre 1951.
La violenza e la Grazia, La Mostra
d'Arte (II).
in- Cinema n. s., Milano, IV,
71, i ottobre 1951.
Viva il realismo itahano. Cannes
1952. Secondo tempo,
in : Cinema n. s., Milano, V,
86, 15 maggio 1952.
in . Cinema Nuovo , Milano, II,
n, 15 maggio 1953.
Alia ncerca del tempo perduto.
in : Cinema , Milano, n. s., 93,
i settembre 1952.
Tiranno e belle di no tie.
in : Cinema , Milano, n. s., 94,
15 settembre 1952.
Cannes: primo tempo. In tin festival
che tramonta il salario della paura.
in : Cinema Nuovo , Milano, II,
10, i maggio 1953.
Cannes secondo tempo. Le allegre
vacanze di Monsieur Cocteau.
ARNHEIM, Rudolf
Nostro pane quotidiano.
in: Intercine , Roma, VII, i, gen-
naio 1935.
Vedere lontano.
101
in: Intercine , Roma, VII, 2 feb-
braio 1935.
11 crittco cinematogtafico di domani.
in : Intercme , Roma, VII, 8,
agosto 1935.
Perche sono brutti i film a colori.
in : Scenario , Roma, 3, 1936.
Una notte sul Monte Calvo.
in . Cinema , v. s., Roma, I, 11,
10 dicembre 1936.
Uno spettro in ire versioni.
in : Cinema v. s., Roma, II, 13,
10 gennaio 1937.
Dettagli che non sono dettagli.
in : Cinema , v. s., Roma, II,
17, 10 marzo 1937.
Esame di coscienza.
in : Cinema v. s. } Roma, III,
44, 25 aprile 1938.
ASQUITH, Anthony
La decima mu&a ascende il Parnaso.
(II film sonoro).
in: La Critica Cinematografica ,
Parma, II, 6, marzo 1947.
ASSUNTO, Rosarlo
Strohetm : realismo e stile.
in : Bianco e Nero , Roma, IX, 6,
agosto 1948.
(ATASCEVA, P. & AKUSCKOV, S.) a
cura di
Clarliz Spenser Ciaplin.
(vedi: Akusckov, S. & Masceva, P.).
Charles Spencer Chaplin.
(vedi: A.kusckov, S. & Masceva, P.).
AUDARD, Pierre
La Passion de Jeanne d'Atc par C.
Dreyer.
in : La Revue du Cinema , Paris,
2, febbraio 1929.
Figures de Cire, par P. Lent.
in : c La Revue du Cine* ma , Paris,
2, febbraio 1929.
AURIOL, Jean Georges
Ombres Blanches, par Van Dyke.
in : La Revue du Cinema , Paris,
1, dicembre 1928.
I film maledetti al Casinb di Biat-
ritz.
in : Cinema n, s., Milano, IT, 15
settembre 1949.
AUTERA, Leonardo
Revisione e pericolo delVeccesso op-
pas to.
in : Cineclrtb , Reggio Calabria,
9, dicembre 1951.
AYFRE, Ainedee
et phenomenologie.
in: Cahiers du in^ma , Paris, 17,
novembre 1952.
BAKSHY, Alexander
The Theatre Unbound- A plea on
behalf of the ill-used: the actor, the
stage and the spectator: also an ap-
peal to the dramatist that he may
assist these to their freedom and
thus obta^n his own salvation.
London, Cecil Palmer, 1923.
BALAZS, Bela
Un pezzo di terra.
in . Cinema n. s., Milano, II, 16,
15 gmgno 1949.
BARBARO, Umberto
11 cinematografo e l j tdeale della bel-
lezza.
in : Quadrivio , Roma, 3 maggio
1936.
11 film stereos copico.
in : Quadrivio , Roma, 20 settern-
bre 1936.
Piidovkin attore e cntico.
in : Lo Schermo , Roma, II, 6,
giugno 1936.
Organi del film.
in : Lo Schermo , Roma, 1936.
Le cinema sans acteurs.
in : Le R61e Intellectuel du Ci-
nema . (Vedi in Cap. I).
Moti-vi sulla cinematografia sovie-
tica.
in : II cinema sovietico (I) a cura
di Glauco Viazzi. ( Sequenze -
Quaderni del Cinema - Parma, I, 3,
novembre 1949).
Critica e arbttrio nel documentario
sulle arii figurative.
in Bianco e Nero , Roma, XI,
8-9, agosto-settembre 1950.
Servitit e grandezza del cinema.
in : Filmcritica , Roma, I, i, di-
cembre 1950.
Importanza del lealistno.
in* Filmcritica , Roma, I, 4, mar-
zo-apnle 1951.
BARONCELLI, (de) Jacques
Pantomime-Musique-CinSma.
Paris, 1915."
BARRAULT, Jean-Lowis
De Chariot a Charlie Chaplin. Le
Mime Philosophe.
in: <c Cine-Club , Paris, gennaio-
febbraio 1948.
BARTOLINI, Lirigi
II nostro cinema e il low cinema.
in : <c Bianco e Nero , Roma, X, 6,
giugno 1949.
102
BAZIN, Andre
Wilham Wyler ou le janseniste de
la mise en scene.
in : La Revue du Cinema , Paris,
10-11, febbraio-marzo 1948.
Teatro e cinema.
in : Bianco e Nero , Roma, XIII,
3-4, marzo-aprile 1952.
Le journal d j un cure de campagne
et la stylistique de Robert Bresson.
in : Cahiers du Cine* ma , Paris,
Tome I, 3, giugno 1948.
BERGE, Andre
Cinema et Utterature.
in: L'Art Cinematographique ,
vol. III. (Vedi in Cap. I).
BEUCLER, A.
Le comique et I' humour.
in : L'Art Cinematographique ,
vol. I. (Vedi in Cap. I).
BLEIMAN, M. & KOSINZEV, G. &
EISENSTEIN, S. M. & IUTKE-
VIC, S.
La figura e rarte di Charlie Cha-
plin.
Torino, Einaudi Editore, 1949, pp.
239, ill. 30, 8.
Sommario : Chaplin : cc La mia vita
- Bleiman : L'lmmagine del povero
uomo - Kosinzev : L'arte popola-
re di Charlie Chaplin - lutkevic :
Sir John Falstaff e Charlie Cha-
plin - Eisenstein : Charlie "The
Kid" - Scritti di Charks Spencer
Chaplin sti se stesso e Parte del film
- Filmografia.
(V. : Akusckov, S. & Atasceva, P.)
BLIN, Roger
Terre sans femmes.
in: La Revue du Cinema , Paris,
9, aprile 1930.
BO, Carlo
La morale di Monsieur Verdoux,
in : Bianco e Nero , Roma, IX, 3,
maggio 1948.
II personaggio nel romanzo e nel
film.
in: Bianco e Nero , Roma, XI,
4, aprile 1950.
La letteratura non giova al cinema.
in : Cinema , Milano, n. s., 98,
30 novembre 1952.
BONSELS, Waldemar
Der nicht gespielte Film.
Munchen, Bruckmann, 1936, pp. 157.
Disegni di G. Bohmer.
BOOST, C.
De goede films komen er toch. (I
buoni film la spuntano egualmente).
Baarn, De Boekerij, 1947.
BOURGEOIS, Jmcques
Musique dramatique et cine'ma.
in : La Revne du Cinema , Paris,
10, 1948.
BRINTON, Joseph P.
Subjective camera or subjective aw-
dience ?
in Hollywood Quarterly , Bar-
keley and Los Angeles. 4, luglio
1947.
BROZ, Jaroslav
II Golem visita. il fornaw dell'im-
peratore.
in: Cinema , Milano, n. s., 86,
15 maggio 1952.
BRUNIUS, Jacques B.
Un chien andalon,
in * La Revue du Cinema , Paris,
4, ottobre 1939.
Monsieur; Verdoux encore et ton-
jours ** aux ordres de Vamour ".
in. Revue du Cinema , n. s., n,
marzo 1948.
CAMERON, Ken
Sound and the Documentary Film.
London, Pitman, 1947.
CANCELLIERf, E dm on do
Tempeste sull'Asia. (Con frammenti
del copione di montaggio).
in: Bianco e N^ro , Roma, IV,
3, marzo 1940.
CARTER, S. B.
Ourselves and the Cinema. Topic
for Discussion.
London, Workers' Educational As-
sociation, 1948.
CASELLA, Alfrcao
II cinema arte e gli artisti delle altre
arti.
in : Cinema v. s., Roma, II, 15,
10 febbraio 1937.
CASIRAGHI, U S o & VIAZZI Glauco
Presentazwne postuma di nn clas-
sico.
in: Bianco e Nero , Roma, VI, 4,
aprile 1942.
11 traditore.
in: Bianco e Nero , Roma, VI,
11-12, dicembre 1942.
CASIRAGHI, Ugo
Raskolnikoff.
in: Bianco e Nero , Roma, IV,
giugno 1940.
Umanita di Stroheim.
103
in: c Cinema v. s., Roma, VI,
no, 25 gennaio 1941.
Notti bianche di S. Pietroburgo.
in: Bianco e Nero , Roma, V, n,
novembre 1941.
Nota su SjosLrom e Duvivier. (A
proposito dell'ultimo Duvivier).
in : Bianco e Nero , Roma, VI,
3, marzo 1942.
in : Casiraghi, U. : Umanita di
Stroheim e altri saggi .
L J ultima trilogia di Pabst.
in: : Cinema v, s., Roma, VII,
142, 25 maggio 1942.
Inter pretazioni di . Rebecca .
in: Bianco e Nero , Roma, VI,
10, ottobre 1942.
in . Casiraghi, U. : Umanita di
Stroheim e altri saggi ; (Hitch-
cock e Forst : due interpretazioni di
Rebecca .
Umamta di Stroheim e altii saggi.
Milano, Poligono, 1945, pp. 146, ill.
127, 8.
John Ford e la stanchezza del cine-
ma americano.
in : La critica cmematografica ,
Parma, I, 5, dicembre 1946, II, 6,
marzo 1947.
CASTELLO, Giulio Cesare
UXI Mostra di Venezia.
in : Bianco e Nero , Roma, XI, u,
novembre 1950.
Cannes atto prime,
in: Cinema , Milano , n. s., 106,
15 marzo 1953.
Cannes: atto secondo.
in : Cinema , Milano, n. s., 107,
31 marzo 1953.
CATLING, Darrel
Film Music.
in: Sight and Sound , London,
aprile 1944.
CAUVIN, Amire
A New Belgian Film.
m: Close Up , London, vol. VII,
2, agosto 1930.
CAVALCANTI, Alberto
Remarques sut V influence du\ cine-
matographe sur les aits plastiques.
in : <c Les Cahiers du Mois - Nume-
ro doppio e speciale dedicato al ci-
nema - Paris. Editions Emil-Paul
Freres, 1925.
CHANDLER, Raymond
Oscar Night - Holly-wood.
in : Sight and Sound , London,
vol. 19, 4, giugno 1950.
CHAPEROT, Georges
Henri Chomette Le poete d'images-
et le film parle.
in- La Revue du Cinema , Paris,
13, agosto 1930.
CHAPLIN, Charles Spencer
Does the Public Know what it
Wants ?
in Adelphi , London, i gennaio*
1924-
CHARENSOL, Georges
Rene Clair et Les-belles-de-nmt.
in: Bianco e Nero , Roma, XIV,
i, gennaio 1953.
Chariot
Numero speciale de Les Croniques
du Jour , Galtieri di S. Lazzaro,,
Paris, 1926.
Sommario : Chaplin ecrivain, par
Poulaille H. - Naissance de Chariot^
par Cendrars B. - Chariot jouera t'il
Napoleon, par Cami - L'art clownes-
que et Chariot, par Strentz H - L'ms-
spiration de Chariot, par Wahl L. -
Defense de Chariot, par Moussinac>
L. - Elucubration par Jacob, M. -
Temoignages d-e Arnoux A., Cance-
rel, Morand, Clair, Tedesco, Salmon^
Leger - Chaplin a travers quelques
anecdotes, par Raynaud R - Les
films de Chariot, par divers - Docu-
merts. ir>. de Salvat, Masereel, Zak^
Fornari, Oberle, Gloutchenko.
Chariot
Disque Vert , Paris, 465, 1924.
Contiene scritti di : Murry, Sou-
pault, Dooff Neel, Kochnitzky, Ar-
land, Barga, Gomez de la Serna, Cre~
vel, Fels, Divoire, Fierens, Goe-
mans, Perier, Michaut, Jacob, Lhote,,
Masereel, Leger.
CHAVANCE, Louis
L J opera de quat j sous.
in- aLa Revue du Cinema , Paris,,
22, maggio 1931.
CHAUVET, Louis
Le porte-plume et la came? a.
Paris, Flammarion, 1950, pp. 212.
CHIARAMONTE, NicoSa
Umanesimo di G. W. Pabst.
in Scenario , Roma, 8, 1932.
CHIARETTI, T. & QUAGLIETTI, L.
La sorpresa finale.
in : Bianco e Nero , Roma, XII,
10, ottobre 1951.
CHIARINI, Luigi
Speranze ed espetienzc.
in* Lo Schermo , Roma, I, 5,,
dicembre 1935
104
Pro e contra ^l doppiaggio.
in : Lo Schermo , Roma, II, n,
novembre, 1936.
La Kermesse etoica.
in : Bianco e Nero , Roma, I, 2,
28 febbraio 1937.
Incontw di civilta oinematografica a
Venezia.
in * Lo Schermo , Roina, III, 8,
agosto 1937
Vade retio Satana.
in La Cntica Cmematografica ,
Parma, III, 10-11, agosto-settembre
1948.
Umanita del neo-realismo.
in * <c Cinema Italiano 1948 , Roma,
1948.
La situazione del cinema italiano.
in" ((European Affairs , London,
novembre 1949. (Riportato in Bian-
co e Nero , Roma, X, u, novembre
1949).
A proposito di una discussione sulla
critica cmematografica.
in : Bianco e Nero , Roma, XII, 4,
apnle 1951.
CINEMA 1943
Paris, Comoedia, Charpenter, 1943,
PP- 34. iH
Contiene scntti di : L. E. Galey,
Marcel THerbier, Alexandre Arnoux,
Jacques Becker, Maurice Bessy, An-
dre Robert, Jacques Ibert.
CINEMA
Cahiers du Mois , (ed. Emile-
Paul), Paris, 16-17, 1925, pp 255, ill.
12, 8.
Sommario -. 1. <c Creation d'un mon-
de par le cin6rna : Epstein, Clair,
Catelam, Tedesco, L'Herbier, Lan-
dry, Bofa, Dulac, Feyder, Vmller-
moz, Charensol, Chomette - II. In-
fluence du cinema sur les arts :
Mallet Stevens, Cavalcanti, Laglen-
ne, Leger, Frejaville, Martin, Ra-
main, Betove - III. Les lettres, la
pensee moderne et le cinema . Ar-
noux, Beucler > Braga, Cendrars,
Cocteau, ' Crevel, Delteil, Desnos,
Desson, Harlaire, Martin-Chanffier,
Paulhan, Pierre-Quint, Poisson, Ra-
muz, Soupault, Supervielle - IV.
Etat du cinema : Walhe, Henry,
Gromaire, Holmberg, Chancerel,
Moussinac, Baroncelli, Rops.
CLAIR, Rene
Chaplin.
in L'Art Vivant , Paris, apiiler
1927
in Vu (Numero special), Pans,
apnle 1931.
Reflexion faite. Notes pour servir a
1'histoire de Part cinematographi-
que de 1920 a 1950. (Vedi in Cap.
11, C).
(CLARKE, C. H.) a cura di
The Elements of Film Criticism.
Extracts from articles by Powell, Se-
well, Harman, Dent, Mannock).
London, Brntsh Film Institute, 1944.
COCKSHOTT, Gerald
Films m Denmark.
in ((Sight and Sound , London y
vol 17, 67, Autumn 1948.
COMIN, Jacopo
Smfonia di una gtande citta
in* K 900 , IV, 5, maggio 1929
CONSIGLIO, Alberto
Chariot nveduto.
in: Scenario, Roma I, 6, lugho
1932,
CONTRIBUTO A UNA RICERCA
in: Cmeclub , Reggio Calabria, 3,
4, dicembre 1950, gennaio 1951 (Con
scntti di Anstarco, G.; Ambrogio,.
P. E , Chiarmi, L. ; Pandolfi, V - r
Mondello, P. sulla revisione del-
1'mdagine critica).
(COOKE, Alistair) a cura di
Garbo and Hie Night Watchmen; a
selection fwm the writings of British
and American film critics.
London, Jonathan Cape, 1937, pp.-
352.
CRAIG, Gordon
Cinema and its Drama.
in : The English Review , Lon-
don, vol. 34, febbraio 1922.
CROCCO, Natalia
Cinema e narratii^a in America c in
Italia.
in Bianco e Nero , Roma, XIII,,
12, dic-einbre 1952.
CUENCA, Carlos Fernandez
Cervantes y el cine.
1947.
His tor la cinematografica dc Don
Quijote de la Mancha.
1948.
D'ALESSANDRO, Angelo
II problema critico deir<a Amleto
di Olivier.
in: aBianco e Nero , Roma, XIII,.
i, gennaio 19 S3.
DAUGHERTY, Frank
The Pabst Arrival.
105
in: Close Up , London, vol. X, 4,
dicembre 1933.
DAVENPORT, Nicholas & WINNING-
TON, Richard
The Future of British Film.
London, The News Chronicl-e, 1951.
BEL BUONO, Oreste
Film- e narrativa nera.
in : Cinema Nuovo , Milano, II,
9-io, 15 aprile - i tnaggio 1953.
DELLUC, Louis
Cinema et Cie; confidences d'un
spectateur.
Paris, Grasset, 1919, pp. 327, ill.,
16. (Disegni di Don, Gesmar, Petit-
jean, Musidora, Debani, J. Krauss,
ecc.).
Chariot.
Pans, De Brunoff, 1921.
Charlie Chaplin. Trad, di Hamish
Miles
London, New York, John Lane Co.,
1922, pp. 96.
Chaplin.
Praha, Aventmum, 1924, pp. 72, 8.
DELONS, Andre
Les deuoc timides, pai R. Clair.
m : La Revue du Cinema , Paris,
2, febbraio 1929.
DE MORAES, ViniciiM
Lezione di un documento.
in K Bianco e Nero , Roma, XII,
i, gennaio 1951.
DICKINSON, Thorold
L'-artefice del film e il pubblico.
in Bianco e Nero , Roma, X, 2,
febbraio 1949.
The Filmwnght and the Audience.
m . Sight and Sound , London,
vol. 19, i, marzo 1950.
DI GIAMMATTEO, Fernaldo
L'andacia di 'Billy Wilder.
in : Bianco e Nero , Roma, XII,
11-12, novembre-dicembre 1951.
DOLINSKIJ, I.
Capaev. Dtamaturgija.
Moskva, Goskinoisdat, 1945, pp. 175,
8.
BOMBURG, A. (van)
Leuende schaduwen. (Ombre viventi) .
Utrecht, Het Spectrum, 1936, pp. 95.
DONIOL-VALCROZE, Jacques
All About Mankiewicz.
in : Cahiers du Cinema , Paris,
Tome I, 2, maggio 1951.
Dtnytryk ou\ les aretes viues.
in * Cahiers du Cinema , Paris,
Tome I, i, aprile 1951.
DOREN, Mark (van)
The Private Reader. (Collezione di
articoli di critica letteraria, alcnni
dei quali riguardano il cinema).
New York, Holt, 1942.
DOVZENKO, A. & PUDOVK1N, V. &
OTHERS
Discussion on the American 'Docu-
mentary Film Series Why we
Fight .
in : Film Chronicle , 2 maggio
1945.
DURGNAT, R. E.
Ways of Melodrama.
in: Sight and Sound , London,
vol. 21, i, agosto-settembre 1951.
EASTMAN, Max
Enjoyment of Laughter.
New York, Simon and Schuster,
1936, pp -355, ill-
EISENSTEIN, S. M. & IUTKEVIC, S.
& BLEIMAN, M. & KOSINZEV, G.
La jigura e I'arte di Charlie Cha-
plin. (Vedi: Bleiman, M.).
EISENSTEIN, S. M.
Charlie the Kid}- some observations
on a genius. Trad, di Herbert Mar-
shall.
in: Sight and Sound , London,
vol. 15, 57, Spring 1946.
Charlie the Grown Up.
in : Sight and Sound , London,
vol. 15, 58, Summer 1946.
Charlie le kid .'
in : Europe , Paris, XXV, 24, di-
cembre 1947.
Charlie il fanciullo .
in: Cinema , n. s, Milano, II,
n. 24, ottobre 1949.
The Soviet Film.
in : Freeman, Kunitz, Lozowick :
Voices of October .
(Vedi in Cap. II, B).
EISNER, Lottc H.
Notes sur le style de Prttz Lang.
in* La Revue du Cinema , Paris,
5, febbraio 1947.
ENGELBRECHT, Kurt
Kinokultur.
Leipzig, Hartung, 1923, pp. 117.
(Kritische Gange durch die Geg en-
wart) .
FENIN, Giorgio N.
II cinema americano nel 1951.
in : c Bianco e Nero , Roma, XIII,
i, gennaio 1951.
GANDINI, Pier Luigi
II quadruple gioco di Jacques Pre-
vert.
106
in : Cinema n. s., Milano, IV,
61, i maggio 1951.
EROSA, Guido
Poesia di Ombre Rosse.
in : a Bianco e Nero , Roma, XIII,
5-6, maggio-giugno 1952.
GHELLI, Nino
L'anima del film.
in : Cinema n. s,, Milano, II,
15, 31 maggio 1949-
Vecchio interrogative.
in : Cinema n. s., Milano, III,
31, 30 gennaio 1950.
L'aspirazionc? al punsrno minac-
cm I'arte del film.
in : Cinema n. s., Milano, III,
53, dicembre 1950
Venezia 1952. I film.
in : Bianco e Nero , XIII, Q-IO,
settembre-ottobre 1952.
J disegni animati.
in : Cinema , Milano, n. s., 31, 22,
15 settembre 1949.
II cinema f ranees e,
in : a La rivista del cinematografo ,
XVI, 6.
II cinema americano.
in : La rivista del cinematografo ,
XVI, 7.
N eo-realismo americano.
in: Filmcritica , i, 1950.
Ritorno al tragico.
in : Cinema , Roma, VIII, 171-172.
GIDE, Andre
Opinion sur Plallelujah .
in : La Revue du Cinema , Paris,
n, giugno 1930.
GILSON, Paul
Les hallucinations du Baron de
Munchausen et la conquete du Pdle.
in* La Revue du Cinemas, Paris,
6, gennaio 1930.
Harry Lang don ou la maladie du
sommeil.
in : La Revue du Cinema , Paris,
3, maggio 1929.
GINA, V. A.
Saggio sull'arte cinematografica di
Stascia Napierkowoka.
Milano, 1913.
GOBETTI, Paolo
Una competizlone senza vincitore.
in : Cinema , Milano, n. s., 94,
15 settembre 1952.
GOETZ, R.
Filmdichter oder Filmy erleiher.
1921.
GOLL, L
Die Cliapliniade - Erne Kinodichtung.
Dresden, 1920.
GORELIK, Mordecai
New Theatres for Old.
London, Dennis Dobson, 1947.
New York, Ed. Samuel French,
1948, pp. 553, 8.
1RANICH, Tom
All-Negro Productions.
in : Cmema Nuovo , Milano, II
ii, 15 maggio 1953.
GRIERSON, John
Osservaziom sul comico.
in: Bianco e Nero , Roma, IX,
2, apnle 1948.
GRIFFITH 0. W.
Are Motion Pictures Destructive erf
Good Taste?
in : Arts and Decoration , 12-13,
1923*
The Greatest Theatrical Force.
in : The Moving Picture World ,
New York, vol. 85, 26 marzo 1927.
GUERRASIO, Guidb
Filosofla del cinema americano.
in a Cinema v. s., Roma, VI,
114, 25 marzo 1941.
HANDEL, A. Leo
Hollywood looks at its Audience.
1950, pp. 240.
HARDY, Forsyth
The Films of Arne Sucksdorff.
in- Sight and Sound , London,
vol. 17, 66, Summer, 1948.
HARMAN, Jympson
Good Films : How to Appreciate
Them.
in Young Britain Educational Se-
ries , London, c Daily Mail , 1946.
HITCHCOCK, Alfred
Music in Films.
in. Cin-ema Quarterly)), London,
vol. 2, 2, 1933.
HOLMES, Winifred
What's Wrong with Documentary?
in: <c Sight and Sound , London,
vol. 17, 65, Spring 1948.
HONEGGER, Arthur
Du cinema sonore & la musique
reelle.
in : Plans , Paris, i, gennaio 1931.
HUNGER, Franz
Der ideelle und psychologische Ge-
halt des historischen Films.
Hamburg t 1942, pp. 172.
HUNTLEY John
The music of Hamlet and Oli-
ver Twist .
107
in : Penguin Film Review , Lon-
don, 7, 1949.
INDEX DE LA CINEMATOGRAFHIE
FRANCAISE, 1947, 1947-48, 1948-49,
1949-50, 1950-51
Paris, La cinematographic franfaise,
1947, 48, 49, 50, 51.
(Contengono critiche di film proiet-
tati in Francia, ad uso dei diretton
di cinema) (vedi in Cap. IX)
INSTITUT DES HAUTES ETUDES
CINEMATOGRAFHIQUES
Analyses de films.
Pans, <c I.D H E C. , 1948, pp. 96,
8
IUTKEVIC, S. & BLEIMAN, M. & SCO.
SINZEV, G. & EISENSTEIN, S. M.
La figura e I'arte di Charlie Chaplin.
(Vedi* Bleiman, M.).
JACCHIA, Paolo
Dramma e lezione dei vmti Ra-
sho~mon e . Der Verlorene .
in : <c Bianco e Nero , Roma, XII,
10, ottobre 1951.
JAUBERT, Mawice
Music and Film.
m : World Film News , London,
luglio 1936.
La mnsique dans le film.
in: (cCahier de I'l D.H.E.C , Pa-
ris, i, 1947.
JONES, Ceinwen & PARDOE, F. E.
A First Course in Film Appreciation.
London, British Film Institute, 1946.
KAST, Pierre
Des confitures pour un gendarme.
in : Cahiers du Cinema , Paris,
Tome I, 2, maggio 1951.
KELLER, Hans
The Need for Competent Film Mu-
sic Criticism.
London, British Film Institute, 1947.
KOSINZEV, G. & EISENSTEIN, S.
M. & IUTKEVIC, S. & BLEIMAN, M.
La figura <e I'arte di Charlie Cha-
plin.
(Vedi: Bleiman, M.).
KOVAL, Francis
Interview with De Sica.
in: Sight and Sound , London,
vol. 19, 2, aprile 1950.
KRACAUER, Siegfried
Logorano la musica di cm si all-
mentano.
in : Cinema Nuovo , II, 6, i feb-
braio 1953.
KUCERA, Jan
I cartoni animati e le aiti figurative.
m. Intercine , Roma, VII, 12, di-
cembre 1935.
LAFFY, Albert
Les grands themes de Vecran.
in La Revue du Cinema , Paris,
12.
LANE, John Francis
De Santis and Italian Neo~realism*
in : Sight and Sound , London,
vol. 19, 6, agosto 1950.
LEIVA, Augustin Aragon
Note su Eisenstein e sulla sua espe-
rienza d j arte nel Messico.
in : Bianco e Nero , Roma, XI^
i, gennaio 1950.
LEPROHON, Pierre
Chariot ou la naissance d'un mythe*
(Vedi m Cap. II, B).
Charlie Chaplin (vedi ir Cap. II, B).
LINDGREN, Ernest
Scopi reah e scopi supposti.
in : <c Cinema , Milano, n. s., 101^
15 gennaio 1953.
LINDGREN, Ernest & MANVELL
Roger & ROTHA, Paul & ANSTEY,
Edgar
Shots in the Daik.
(Vedi: Anstey, E.).
LITTROW, Dorothea (von)
Vergleich zwischen Drama und Film
Heimat .
Wien, 1939, pp. 140.
LIZZANI, Carlo
Linee e premesse di una breve sto-
ria del cinema.
in : Bianco e Nero , X, 2, feb-
braio 1949.
Pencoli del confonmsmo.
in: <c Cinema , n. s., Milano, II,
12, 15 aprile 1949-
Stoticizzaie la polemica sulla revi-
sione cntica.
in- Cmema)), n. s., Milano, IV,
55, i febbraio 1951.
LO DUCA, Joseph Marie
Punto ed esempio. II festival belga.
belga.
in: Cinema n. s., Milano, II, 19,,
31 luglio 1949.
Cannes Set-Up. Pnmo tempo.
in: Cinema n. s., Milano, II, 23,
30 settembre 1949.
Le film justifie les moyens.
in: Cahiers du Cinema)), Paris,
Tomo I, 2, maggio 1951.
Viva il realismo italiano. Cannes
1952. Pnmo tempo.
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108
LUZI, Gian Francesco
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Serge Prokofieff. La musique ren-
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"Hallelujah' ".
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II testamento di Murnau.
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QUEVAL, Jean
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The Avant-Garde Film seen from
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110
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SADOUL, Georges
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SELDES
The seven lively Arts.
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SHELLEY, Frank
Stage and Scteen.
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SHKLOWSKI, V.
Literatura i kinematograf.
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Theater nnd Kino.
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I pwtagonisti siamo noi.
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Le coeur ignoble de Chariot.
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Cliarlot et son coeur.
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II prhno Carne.
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Motivi di critica sull'opera di Emilio-
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w : Bianco e Nero , Roma, XII^
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in: c Cinema , Milano, n* s., 94^
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VIAZZI, Glanco & CASIRAGHI, Ugo
Presentazione postuma d*un classico*
(Vedi: Casiraghi, U.)-
II traditore.
(Vedi: Casiraghi, U.)-
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Ill
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11 film sull'arte in Francia.
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Mai fiances e o ntal napolitam .
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in . Bianco e Nero , Roma, XI,
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Qual'e I'americano vero? Appunti su
due film Death of a Salesman ,
e / Want You .
m Bianco e Nero , Roma, XIII,
2> febbraio 1952
WEINBERG, Hermann
Quasi una autobiografia.
m: Bianco Nero^>, Roma, XIV,
1, gennaio 1953.
Lo stile nel cinema.
in : <c Bianco e Nero , Roma, XIII,
5-6, maggio-giugno 1952.
WERNER, Gosta
Crisi del documentario e rinascita
del film sperimentale
in : Bianco e Nero , Roma, XIV,
2, febbraio 1953.
WINNINGTON, Richard & DAVEN-
PORT, Nichols
The Futute of British Film-
London, The News Chronicle, 1951.
WINNINGTON, Richard
Drawn and Quartered. A selection
of weekly film reviews and drawings.
London, Saturn Press, 1949
WORTZELIUS, Hugo
Bergman, il icgista piu discusso del
recent c cinema svedese.
in : Cinema n. s., Milano, III,
53, 30 dicembre 1950.
ZECCHI, Adone
Diorama mustcale sulla XI Mo-
stra Internationale d'Arte Cinemato-
gtafica.
in: <c Bianco e Sero , Roma, XI, u,
novembre 1950.
112
CAPITOLO IV
La Tecnica
Le tecniche che la produzione di un film richiede sono diverse, e la mo-
derna specializzazione ha contribuito a create van rami, tra loro sempre piu
distinti. Non occorre certamente indicare quali siano i principal! aspetti tecnici
della produzione cmematograiica ; e tuttavia opportune, come abbiamo fatto per
altre classificazioni, cercar di limitare con un criterio precise le diverse materle
che si possono raggruppare sotto questa definizione.
Tecnica tutta la parte non creativa d'un lavoro, la somma delle conoscenze
che sono necessarie perche gli autori possano esprimersi con un determinate
mezzo. Ma data la complessita e la vastit& del lavoro cinematografico, solo una
parte delle attivita non artistiche connesse alia produzione d'un film potranno
esser considerate tecniche. Per esempio Forganizzazione della produzione sara pift
giustamente da considerarsi come aspetto economico, e taluni principi fonda-
mentali riguardanti il funzionamento delle macchine usate nel cinema saranno
da classificare tra le materie scientifiche.
In questa nostra classificazione i problemi tecnici del cinema verranno divisi
in due grandi categoric : da una parte la tecnica puramente meccamca, riguar-
dante il funzionamento degli apparecchi e 1'uso dei materiali ; dall'altra gli aspetti
tecnici che accompagnano ogni processo creative, anche non materiale. In altre
parole, quelle nozioni tecniche ch-e illustrano come da un sogg-etto si giunga ad
una sceneggiatura, quali accorgimenti siano indispensabili ad un regista, quali
siano le basi della recitazione cinematografica. Esiste cio& accanto a quella che
sar-ebbe piu esatto chiamare Pingegneria del cinema, la tecnica della fabbncazione
del film : come si scrive, come si dirige, come si recita.
E' interessante notare come parecchi di questi ultimi scritti, specialmente
molti di quelli intitolati come si scrive un film , non abbiano piu il carattere
tecnico annunciato dal titolo, ma pretendano di essere delle guide a brillanti
carriere cinematografiche, e fimscano per assumere un tono molto poco series
Si tratta spesso di libri ormai vecchi, taluno pershio precedente al sorgere del
divismo e dei miti del cinema. Li abbiamo riportati piti per curiosit^. che per scra-
polo di esattezza; ma talvolta, per il loro significato di costume, li abbiamo rin~
viati al capitolo dedicate ai problemi sociali.
I libri strettamente tecnici riguardanti il passo ridotto ed il film d'amatori si
troveranno nel Capitolo VIII.
LA TECHNIQUE
Les techniques requises par la production d'un film sont div-erses ; la tendance
moderne a la specialisation a contribue a creer, en elles, des sections de plus en
plus distinctes. II est certainement inutile d'indiquer quels sont les principaux
aspects techniques de la production cinematographique mais il importe, toute-
fois, comme nous Tavons fait pour les autres classification, de definir par un
113
cntere precis les diverses matieres qui peuvent se grouper dans le present
chapitre
Technique est toute la partie non creative d'une oeuvre, la somme des con-
nalssance necessarres pour que les auteurs puissent s'exprimer par un moyen
determine. Toutefois etant donne la complexite et 1'importance du travail cine-
matographique ; une partie seulement des activites non artistique liees a. la pro-
duction d'un film, est a considerer comme technique. L'organisation de la pro-
duction est plus justement, a envisager par exemple, comme aspect economlque*
et quelques prmcipes fondamentaux r-elatifs au fonctionnement de Pappareillage
sont a classifier parmi les matieres scientifiques.
Dans notre classification, les problemes techniques du cinema sont divises en
deux grand-es categories : d'une part ceux qui regardent la technique purement
mecanique, le fonctionnemant des appareils et Pemploi des matenaux , d'autre
part ceux qui concernent les aspects techniques qui accompagnent tout processus
creatif, encore si non matenels En d'autres termes les regies techniques qui
indiquent comment d'un sujet on arrive au scenario, quelle maitnse des moyens-
et du materiel sont necessaires au reahsateur, quelles sont les bases de Pmter-
pretation cmematographique. II existe en effet a cote de ce que Pon pourrait
exactement denomer la part de I'mgenieur pour film, la technique de la fabrica-
tion de Pouvrage cmematographique comment on ecnt un film, comment on le
met en scene, comment on Pinterprete.
II est mteressant de noter que nombreux des ecrits sur cet aspect de la tech-
nique, specialement la plupart de ceux intitules comment on ecnt un film
n'ont pas, en realite, le caractere technique, annonce par le titre mais pretendent
constituer des guides & de bnllantes cameres cmematographique finissant sou-
vent amsi par prendre un caractere peu seneux; il s'agit, le plus souvent, de livres
deja vieux parmi lesquels certains datent de Pepoque anteneure a Papparution
du divisme et des mythes cmematographiques. Nous les avons recueilhs plus
comme element de cunosite que par scrupule d'exactitude.
Les volumes strictement techniques relatifs au format reduit et au film d'ama-
teurs se trouveront dans le chapitre VIII.
TECHNIQUE
The making of a motion picture calls for several different techniques and
modern specialization has brought into being several branches which are growing'
more and more distinct from one another. There is certainly no need to point out
the principal technical aspects of film production, but it will nevertheless be advis-
able to attempt as we have done with regard to the other classifications to
define with suitable clarity the different branches which may be grouped under
this heading
Technique is all such part of a work as is not creative, the sum total of the
practical knowledge that is necessary to enable the authors to express themselves
through a given medium In view however of the intricacy and vast range of
cinematographic work, only part of the non-artistic activities connected with the
making of a film can be considered as technical. It is more appropriate, for in-
stance, to consider the organisation of production as an economic aspect and
to group some of the basic principles regarding the operating of the machines
used in the cinema together \\ith other scientific subjects.
In this classification of ouis, the technical problems will be divided into two-
large categories on the one hand the purely mechanical technique relating to
the use of apparatus and materials and on the other the technicol aspects that
accompany all creative processes, also those that are not material. In other words
those technical notions which show how a subject is turned into a screen-play^
what devices are indispensable to a film director, what are the bases of film acting
and so on. Namely there exists, side by side with what it would be more correct,
to refer to as cinema engineering, the technique of how to make a motion picture L
how to write it, how to direct it, how to act it.
114
It is interesting to observe that several of these last writings, especially a
number of those entitled How to Write a Film have nothing of the technical
character announced by the title, but have the pretension of being guides to
brilliant film careers and end up by being slightly ridiculous Ihese are often
old books, dating back to a period anterior even to the phenomenon of stardom
and the myths ol the cm-ema. We have included them more as a curiosity than
for reasons of scrupolous precision.
The strictly technical books dealing with sub-standard and amatemV films
will be found in Chapter VIII.
A) TECNICA DEGLI IMPIANTI E DEI MATERIALI
ACADEMY OF MOTION PICTURE
ARTS AND SCIENCES. RE-
SEARCH COUNCIL.
A Selected Gloi>saiy for the Motion
Picture Technician.
Hollywood, 1930, pp 85.
Modifications in Projection and Other
Equipment to Reduce Print 6cmi-
ches.
Hollywood, 1938.
Motion Picture Sound hngineentig.
New York, Van Nostrand Co., 1938,
pp. 547, ill. 380. London, Chapman
& Hall.
Recommendations on Theatei Sound
Reproducing Equipment.
Hollywood, 1938.
Recording Sound foi Motion Pictu-
res, by Lester Cowan.
(vedi Cowan, Lester).
ALSTON, John
Painting with Light.
New York, Macmillan.
ANDZHAN, A. & VOLCANEZKII, In
Grim v kino. (La truccatura cine-
matografica) Pref. di Armstam.
Moskva, Goskinoisdat, 1949.
ANOSCENKO, N. D.
(General Kinotechnic , abbrevia-
ted course).
Moskva, Goskinoisdat, 1940, pp. 355.
AUDIO VISUAL PROJECTIONIST'S
HAND BOOK.
Chicago, Business Screen, 1947.
AUTORI VARI
Kinoteatr bes foyej. ( Cinema togra-
fi senza foyer) .
Moskva, LA. A. (Ed. delPAccademia
d'Architettura), 1949.
BAKER, Thomas Thome
The Kingdom of the Camera.
London, Bell and Sons, 1934, pp. 205.
BALAKSIN, A. A.
Spravocnik po usilitelnym ustroist-
vani zvukovogo kino. (Guida per gli
impianti d'amplificazione per il ci-
nema sonoro) .
Moskva, Goskinoisdat, 1944, pp. 382,
8, 2 a edizione.
Eksloatatacija usilitelnucj usttojstv
zuukovych kinoperedvizek. (Esperi-
menti negli impianti di amplifica-
zione sugh apparati sonori del ci-
nema).
Moskva, Goskinoisdat, 1945, pp.
167, 8
BALBI, Charles Mackenzie R.
Talking Pictures and Acoustic. Pref.
cli Sir O. Lodge.
London, Electric Review, 1932, pp.
126, 8
BATASEV, V. V.
Montaz zvukovych kinoustano-vok.
(Montaggio degli stabilim-enti cine-
matografici sonori).
Moskva, Goskinoisdat, 1944, pp-
102, 8.
BATES, Barrie
Tajemsti'J filmoveho atelieru. (II se*
greto dello studio cinematografico) .
Praha, 194^?.
BATTISON, John H.
Movie* for TV.
New York, Macmillan, 1950. pp. 376?
ill. 20.
BEATON, Welford
Know YOUJ Movies; the theory and
practice of motion picture produc-
tion Pref. di Cecil B. de Mille.
Hollywood, Howard Hill, 1932.
BECK,' Szilard
A mozgofennykep. (II cinema).
Budapest, Tisza Testverek, 1913.
BECKER, Karl Heinz
Dai Problem des Plastischcn Tones
im Film.
Berlin, Max Hesse Verlag, 1938, pp.
8, ill. 5.
115
BENNETT, Colin N.
The Handbook of Kinematography.
London, Kinematograph Weekly,
1911.
The Guide to Kinematography ; for
cameramen, operators and all who
"want to know".
London, E. T. Heron & Co., 1917,
pp. 300, 8.
A Guide to Kinematography. (Pro-
jection section).
London, Pitman, 1923, pp. 202, 8.
BERGER, Richard
Die Schalltechnik.
Braunschweig, Vieweg, 1926, pp. 115*
ill. 97-
BERTELSMANN, W & BLOCH, L.
Lichttechnik. Erweiterte Wiederga-
be einer Vortragsreihe zur Ausbild-
ung -von Beleuchtungsingenieuren,
-veranstaltet von der Dt. Beleucht-
ungstechn. Ges. uom 13 bis 18 Sept.
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Sommario * La presa - Lo sviluppo -
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Moderne Tonfilm-Reproduktions-An-
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Pas Arbeit en mit Fihncn. Blattfihn,
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E&po$ ng Cine Film exposwe dif-
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{The Art o/ MakejVp for Stage,
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Budapest, (Edizione delPautore),
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A mozgoke'pveUtogep es a film tech-
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Budapest, (Edizione delPautore), 1923
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Budapest, (Edizione delPautore), 1935
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Mikor a film megzolal. Mit uarhatunk
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Budapest, 1929.
Films Irnleseh elkeriilese. (Modi di
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Budapest, (Edizione delPautore, 1935.
A filmtechmka keikoznyve. (II ma-
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Budapest, (Edizione dell'autare) .
A kepmezo toke'letes be-vilagitasa. (La
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Budapest, (Edizione delPautore).
A mozgofenyke'pszmhazak rendeszete.
(L'ordinamento dei cinematografi) .
Budapest, (Edizione dell'autore).
A vetitokamra. (La maccHna da pro-
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Budapest, (Edizione dell'autore).
A ijetitokamam rendgszete. (L'ordina-
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Budapest, (Edizione delPautore).
Filmkarok es azok szamitasa.
Budapest, (Edizione delPautore).
JHangosfilm, hibaforrasok 6$ azok el-
kerulese. (Film sonoro, fonti di er-
rori e modo di evitarli).
Budapest, (Edizione delPautore).
Hangosfilm, le&dogepek. (Film sono-
ro, macchme riproduttrici).
Budapest, (Edizione delPautore).
Mit hell tudni a -vetitooptikarol f (Che
bisogna sapere delPottica da proiezio-
ne cinematografica) .
Budapest, (Edizione delPautore).
Nagyteljesitmenyu vehtofenyforrasok.
(Sorgenti lummose di grande poten-
za per la proiezione cinematografica).
Budapest, (Edizione delPautore).
TECHNICAL DIGEST OF MOTION
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B) - TECNICA DELL A LAVORAZIONE
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Motion Picture Acting.
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Key to the Adaptation of the Best
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London, Putnam's (G. P.) Sons,
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AUERBACH, Alfred
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London, Focal Press, 1950.
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Photoplay Scenarios: how to write*
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New York, 1915
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London, Paul Stanley & Co., 1917,,
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Zkivopismo-maljarnye raboty na ki-
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Moskva, Goskinoisdat, 1948.
BAMBURG, Lilian
Film Acting as a Career.
London, Foulsham and Co , 1929^
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Successful Photoplay Writing.
New York, 1914
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Att skriua filmmanuskript. (Come si
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New York, London, Funk & Wa-
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Sapiski szenarhta. (Note d'uno sce-
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Music i) kino. (Musica e cinema).
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Film Editing.
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Playwritmg for the Cinema ; dealing
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Making the Movies.
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Collaboration between the Screen
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in : Proceedings of the Writers Con-
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Mimik im Film. Leitfaden fur den
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Modern Acting; a Guide for Stage,
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New York, Prentice-Hall, 1940.
DIMICK, Howard
Photoplay Making; a handbook de-
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Modern Photoplay Writing, its Craft-
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Ohio, J. K. Reeve, Franklin, 1922,
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DISNEY, Walt
Mickey Mouse Presents.
in * Naumburg, Nancy We make
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DOUGLAS, E. M.
The Photoplay and how to write
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Kunkiirs na kinoszenarii.
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DUPONT, Ewald Andre
Wie ein Film geschrieben wird und
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Berlin, G. Kiihn, 1919, pp. 94, ill. 7
132
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ECKERT, Gerhard
Gestaltung eines Uteranschen Stof-
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Composing for the Films.
New York, Oxford University Press,
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EITH, Herbert
Die perspektive Darstellungsart in
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utnd Sehbild.
Koln, M. Welzel, 1936, pp. 65, ill. 9
ELLIOT, W. J.
How to become a Film Actor.
London, Picture Palace News Co.,
1916.
EMERSON, John & LOOS, Anita
How to write Photoplays; with a
complete scenario as written by them
of The Love Expert .
New York, James McCann, 1920,
pp. 154, ill.
ESENWEIN, J. Berg & LEEDS,
Arthur
Writing the Photoplay.
Springsfield (Massachussets), Home
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425, ill.
FALCK, Nat
How to make Animated Cat toons
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FARQU, Harson J.
Picture Plays and how to write Them.
London, Hodder and Stoughton,
1916, pp. 166.
FAWCETT, L'Estrange
Writing for the film.
London, Pitman and Sons, 1932, pp
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New York, Pitman Publ Corp., 1938
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FERDINAND, Franz & FERDINAND-
BLIELITZ, Elsa
Wie werde ich Kinodarstellei 9 Prafe-
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in Original- Aufnahmen aus fertigen
Ftlmen.
Wien, Verlag, H. Ponner, 1916,
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Filmeantwiirf Filmregie Films chmtt.
Gesete und Beistpiele.
Halle, Knapp.
FIORINI, Guido
Scenografia cinematografica.
in Bianco e Nero , Roma. V, 7,
lugho 1941.
FORD, Charles
On tourne Lnndt. (Ecrire pour le
cmema) .
Paris, Vigneau, 1947, pp. 282
FOX PHOTOPLAY INSTITUTE,
CHICAGO
The Fox Plan of Photoplay Witting.
(A book of inspiration offering ear-
nest men and women opportunity
foi success as photo dramatists).
Chicago, Fox Photoplay Institute,
1922, pp 207, ill.
FOX, Charles Donald
The Standard Photoplay Plot Chart.
Chicago, Fox Photoplay Institute,
1922, pp. in, ill.
FRANKEN, T & I YENS, "Jons
Die techniek van de kunstfilm. (La
tecnica del film a soggetto).
Rotterdam, 1932.
FREEBURG, Victor Oscar
The Art of Photoplay Making.
New York, Macmillan Publ. Co.,
1918, pp. 283, ill.
FREND, Charles
The Film Director.
London, British Film Institute.
FRENKEL, L. & KOLOMOITZEV
Rojdennie kinofilnua. (Nascita d'un
film).
Moskva, Goskinoisdat, 1939, pp, 96.
FRIESE-GREENE, Claude
How Film began.
in . The World Film Encyclopedia ;
a universal screen guide , edited by
Clarence Winchester. (Vedi in Cap.
IX, B)
GALE, Arthur Loran
How to write a Movie.
New York, Brick Bookshop, 1936,
pp. 199.
London, Pitman, 1937, pp 149.
GENIKA, Ju
Kinorejisseura (il regista cinemato-
grafico).
Moskva, Goskinoisdat, 1939, pp.
359, 80.
GEORGE, W. Tyacke
Playing to Pictures : a guide for pior
nisis and conductors of motion pic-
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Heron, 1914.
GHELLI, Nino
La tecnica della regia.
in: Cinema , Roma, VIII, 175-176.
GILETTE, William H.
Illusion of the first Time in Acting.
133
Gift edition only 1915 (Copy in the
Dramatic Museum of Columbia Uni-
versity New York).
GLYN, (Mrs.) Elinor (Sutherland)
The Great Moment; a model photo-
play scenario. (Elinor Glyn system
of writing).
Auburn (N.Y.), The Author's Press,
1922.
GOMEZ, Enrique
Como se escribe un guwn cinemato-
grafico, su teoria y su tecnica.
1944.
El gmon cmeniatogmfico
Madrid, M. Aguilar, 1945.
GORDON, Bernard & ZIMET, Julian
The Technique of the Film.
New York, Film & Sprockets So-
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ment 1937, pp 24
GORDON, L. William
How to wiite Moving Picture Plays.
Cincinnati, Atlas Publ., 1913, pp. 8.
2 a ed. 1914, pp. 26 3 a ed : 1915,
PP- 38*
GORELOFF, Mikhail (Michel Gore!)
Le monde truque les mysteres du
Paris, Editions Nilsson, 1931, pp. 253.
GORMAN, Gene T.
Valuable Hints on Scenario Writing.
(A book of reference and instruction
containg the parts of a scenario
with which a free-lance has to
do, the thirty-six dramatic situations
and some of their innumerable sub-
classifications ; with a list o forty-
eight emotions and a glossary of
terms used in the studio).
Chicago, The Marshall Publ. Co.,
1921, pp. 53.
GROTH, Franz v. d.
Der Films chi if tsteller. Mit Beittagen
von H. Brennert.
Weimar, Weimar er Schriftsteller-
Zeltung, 1919, pp. 75.
HANAFORD, Roy ForWsh
How to write a Photoplay, from A
to 'Z.
New York, Everybody's Photoplay
Co., 1913, pp. 14.
HEINSICK, P.
Anleitung ziu Amarbeitung -von
Filmideen and ihr Vertrieb.
Berlin, Internat. Filmverlagsanstalt
HEMWARD, Stuart
How to get in Motion Pictures.
Hollywood, Hemward Publ. Co.,
1937, pp. 88.
HILL, Wycliffe Abes-
The Million Photoplay Plots; master
key to all dramatic plots.
Los Angeles, The Feature Photo-
drama Co., 1919, pp i0j ill.
HITCHCOCK, Alfred
Direction.
in <c Footnotes to the Film es-
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Oxford University Press, 1937.
HOADLEY, Ray
How they make a Motion Picture.
New York, Thomas Y. Crowell, 1939,
pp 119, ill.
HOAGLAf*>, H. C.
How to write a Photoplay.
New York, 1912.
HOWARD, Norman & DANGER-
FIELD, Fred
How to become a Film Aitist.
the Art of Photoplay Acting.
(vedi * Dangerfield, Fred).
The Photoplay Manual. (A hand-
book of instruction, with example of
model play and full list of producing
companies).
Buffalo, Quality Press, 1915, pp. 26.
JACKSON, Axrar
Writing for the Screen Introd. di
G. Malins. Pref. di L. H. Gordon.
Black, 1929, pp. 146, 8.
(JACOBS, Lewis) a cura di
Film Writing Forms ; methods of pre-
paring a story for the screen.
New York, Gotham, 1934, pp. 61, ill.
Contiene scritti di g Wox, Bank, Wi-
lents, Suskin ed inoltre lo scenario
completo de cc La linea generale di
Eisenstein.
JRAOL, V. A.
Jak psati pro film* (Come si lavora
per il film?).
Praha, Racman, 1923, pp. 35, 8.
JASSET, Victorin
La mise en scene cinematographiqu\e.
in. Cine journal , 21 ottobre-25
novembre 1911.
in * Anthologie du cinema , di
Marcel Lapierre, sotto il titolo : Etu-
de sur la mise en scene.
JENICEK, Jiri
Abeceda kratkeho filmu. (ABC del
cortometraggio)
Praha, Knihovna Filmov6ho Kuryru,
1944, PP- 48, 8.
JUNAKOVSKIJ, V. S.
Postrojenie kinoscenanja. (La costru-
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134
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KATTER, John & MONTE, Melchior
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Boonville (Indiana), The Photoplay
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KAUTZMANN, V.
Der geschnebene Film.
Leipzig, Heitz, 1934, pp 404.
(KELIHER, Alice V.) a cm di
Movie Workers , by Picture Fact As-
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New York, Harper and Brothers,
1939-
KELLY, F. M.
Shakespearian Costume for Stage and
Screen (with nine plates and ninety -
three line drawings)
Boston, Walter H. Baker' Co., 1938,
pp. 130, ill.
KIE SLING, Barret C.
Talking Pictures. How they are ma-
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New York, Johnson, 1937, pp. 332.
KLUMPH, Inez & KLUMPH, Helen
Screen Acting; its requirements and
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New York, Falk Publ Co., 1922,
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Filmova rezie. (La regia cinemato-
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Der Film aus dem Volk Anleitung
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Leipzig, G. Hedeler, 1923, pp. 69
KOLOMOITZEV, & FRENKEL, L.
Rofdenme kmofilmia. (Nascita d'tin
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LA FALCE, Frank
The Art of Photoplay writing.
Newark (New Jersey), A, S. Lupo
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LAMAC, Karel
Jak se pise filmove libreto. (Come si
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Praha, Lidova Tiskarna, 1923, pp.
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New Technique of Screen writing.
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LANG, E. & WEST, G.
Musical Accompaniment oj Moving
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Film-Themen noch und noch.
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LAWSON, John Howard
Theory and Technique oj Play writ-
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Teoria e tecmca della sceneggiatum
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LAWSON, Robb
Films in\ the Making.
London, Pitman, 1938.
LEE, Norman
Money for Film Stones, Introd. di
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Writing the Photoplay, (vedi Esen-
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LEGA, Giuseppe
II fonofilm. L'arte e la tecmca della
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Photoplay Instructions; embracing
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Hvorledes skriver man en Film. (Co-
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Kobenhavn, Pios Forlag, 1916, pp.
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Hur skri-ver man en Film? (Come si
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Pref. di Gustav Berg.
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LONDON, Kurt
Film Music : a summary of the cha-
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Trad, di E, S. Bensinger (vedi in
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LOOS, Anita & EMERSON, Jolrn
Ho-w to 'write Photoplays', (vedi
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135
LORE, Golden
The Modern Photoplay and its Conr
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London, Chapman and D., 1923, pp.
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LUNDEEN, Victor George
How to write Moving Picture Plays.
Fergus Falls (Minnesota), Lundeen
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LYDOR, Waldemar NACK, Erwm
Wolfgang
Wege zu Film und Rithm. Eine Ein-
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LYTTON, Grace
Scenario writing today.
Hough ton Mifflm, 1921, pp 179.
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Kinemato graph Studio Technique.
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MACCARGO, Donald
Writing a Photoplay. (Accurate in-
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MAC CRONY, R. John
How to draw for the Movies.
Kansas City, 1918.
MALLET-STEVENS, R.
Le decor moderne an cinema.
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Le decor.
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A British Film Studio at Work.
London, British Council, 1945
MARGRAVE, Seton
Success fid Film Wilting, as illustra-
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MARION, Frances
How to write and sell Film Stones;
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New York, Covici Friede, 1937, pp.
375-
MARSH, Mae
Screen Acting.
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The Art of Sound Pictures. Introd,
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New York, Appleton, 1930, pp-
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How to write a Scenario for a Mo-
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Washington, D. C. National Scena-
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La tecnica del film.
Roma, Edizioni Inernazionali Socia-
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Montaggio dei film giornali ed at-
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3 D contro nlieuo.
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La tecnica del film.
in : II Volto del cinema, (vedi in
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Introduzione alia tecnica del mon-
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11 problems delVattacco
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176, 1943-
11 linguaggio del film (vedi in Cap.
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McCANN, Richard Nester
How to write a Photoplay.
Pittsburgh, Associated Pho top lays y
1921, pp. 6.
McCRORY, John Robert
How to draw for the Movies. (Or
the process of cartoon animation; a
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Kansas City (Mountain), Features
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MESSMAN, Wladimir & BUGOSLAV-
SKY, Sergiei
Music *v kino (Musica e cinema).
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MIKALOFF, Sigurd Gustave &
SWARTZ, Walter George
The Rudiments of Photoplay Con-
136
structwn. (A complete course in pho-
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MILNE, Peter
Motion Picture Directing. The facts
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London, Falk Publ. Co., 1922, pp.
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MOHR, Harold Arthur
The Photoplay Wntei's aid Book.
Toledo, Ames-Kiebler Printing Co ,
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MONTE, Melchfor & KATTER, John
How to write and market Moving
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MOORE, Elbert
Elbert Moore* e Tcx,l Book on writing
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Chicago, E. Moore, 1915, pp. 225.
(MUDDLE, E. J.) a cura di
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London, The Cinematograph Press,
1911, pp. 85.
MUEHLENAN, Max (Max Midler)
Kinobrevier. Anleitung zur musika-
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Berlin, M. Muller, 1926, pp. 41.
NACK, Erwin Wolfgang & LYDOR,
Waldemar
Wege zu Film und Ruhm. (vedi Ly-
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(NAUMBURG, Nancy) a cura di
We make the Movies. (Articoli di
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Bette Davis, Paul Muni, John Ar-
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New York, W. W Norton & Co.,
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London, Faber and Faber, 1938. (ve-
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NELSON, John Arthur
The Photo-Play; How to write f how
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literary forms and structures, on in-
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Los Angeles, Photoplay Publishing
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NOBLE, Lorraine
Four-Star Scripts; actual shooting
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New York, Doubleday, Doran & Co ,
1936, pp. 392.
OWEN, Franklin S.
Photoplay Writing.
Chicago, American School of Corre-
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Das Film-Mannsk^ipt. Sein Wesen,
sein Aufbau und seme Erfordernisse.
Berlin, Mattisson, 1927, pp. 148
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Dei Weg ziwi Film.
Beilin, Vlg. d. LBB, 1918, pp 154.
(Bd i Der Filmschauspieler). 2 a ed .
1927, pp. 154-
FALADINO, Santi
Come scnveie e sceneggiaic un sog-
getto cinematografico f
fGuida teorico-pratica) .
Roma, Edit. Arte e Storia, 1943
Contiene f ram menu delle sceneggia-
ture di Ettore Fieramosca , <i Ma-
na Malibran e del documentai'io
Assisi .
PALMER, Frederick
Palmer Plan Handbook; < photoplay
writing simplified and explained; a
practical treatise on scenario wri-
ting, as practiced at leading motion
picture studios, with cross-references
to successful examples; including a
current glossary of technical and
semi-technical words and phrases).
Los Angeles, Palmer Photoplay
Corp., 1918, pp. 124.
1919, pp. 165. (rev. ed.).
1922, (2th rev. ed.).
The Essentials of Photoplay Writing;
a book that tells how success can
be won through mastery of the
fundamentals of photoplay writing,
as taught by a group of America's
highest authorities on this subject.
Los Angeles, Palmer Photoplay
Corp, 1921, pp. 32, ill.
Photoplay Writing ; (a practical trea-
tise on scenario writing as practi-
ced at leading motion picture stur
dios, with cross Deferences to suc-
cess full examples).
Los Angeles, Palmer Photoplay
Corp., iQ2i, pp. 165. rev. ed.
Photoplay Plot Encyclopedia; (An
analysis of the use in photoplays of
the thirty-six dramatic situations
and then subdivision; containing a
list of all the fundamental drama-
tic material to be found in human
experience, including synopsis of
137
one hundred produced representati-
ve photoplay es>, with a detailed ana-
lysis of the situations used in< each;
practice suggestions fot combining
situations for testing the strength
and novelty of plots, and fcr buil-
ding plots; and an index referring
to each producer, author, :>ar, sto~
tv and Situaiwn mentioned in the
text).
Los Angeles, Palmer Photoplay
Corp. - Department of Education,
1922, pp 164. 2th rev. ed.
Authors Photoplay Manual. (Mo-
dem Authorship).
Hollywood, Palmer Institute of Au-
thorship, 1924, pp 238.
Technique of the Photoplay.
Hollywood, Palmer Institute of Au-
thorship, 1924, pp. 330. ^
Palmer Handbook of Scenario Construc-
tion. Vol. 2.
Hollywood, Palmer Photoplay Corp.
PALMER INSTITUTE OF AUTHOR-
SHIP, HOLLYWOOD, CALIFORNIA
Reference Sccnanos and Continuity.
(Modern authorship; a series of texts
prepared as part of the Palmer Cour-
se and Service in Creative Writing).
Hollywood, Palmsr Institute ot Au-
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PARSOMS, Louella Pettinger
How to wtite for the a Movies .
Chicago, McClurg, 1915, pp. 207.
PASINETFI, Francesco & PUCCINI,
Gianni
Capitol o sttZ tegi^t a.
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152, 153, 154, *55> 156; VIII, 157,
158* I59 160, 161, 16?, 163, 165, 166,
167. 25 ottobre 1942-10 giugno 1(343.
La tegia cwematogiafica.
Venezia, Rialto, 1945, PP 271, ill.
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PATTERSON, Frances Taylor
Cinema. Craftsmanship; a book for
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New York, Harcourt, Brace & Co.,
1921, ill.
Scenario and Screen.
New York, Harcourt, Brace and
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(PATTERSON, Frances Taylor) a cu-
ra di
3/0t0fi Picture Continuities.
New York, Columbia University
Press, 1929, pp. 246, ill.
PAUL, Peter
Das Filmbuch. IV ie schreibc ich
einen Film und wie mache ich ihn
zu Geld? Sieben Musterfilm und ein
Kinoadressbuch.
Berlin, W. Borntrager, 1914, pp. 181.
PEACOCKE, Leslie Tufnel
Hints on Photoplay Writing; com-
piled from the series of articles writ-
ten
Chicago, Photoplaj Publ Co., 1916,
pp 146, ill.
PEPPER, Dick L.
The Technique of the Photoplay.
London, 1925.
PETROF, Evghenii
Actior period kmoapparat . (L'attore
davanti alia camera)
Moskva, 1929.
PHILLIPS, Carrol
The Art of Writing Moving Picture
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Schenectady (N. Y.), The Daily
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PHILLIPS, Henry Albert
The Art of Writing Photoplays; (a
practical ttealisc for professional
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Cincinnati, The Writer's Digest, 1922,
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PITKIN, Walter B. & MARTSON, Wil-
liam M.
The Art of Sound Pictures. Introd. di
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PLATT, Agnes
Practical Hints on Acting fot the
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London, Stanley Paul, 1932, pp 167,
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PORTALUPI, Piero
Come nasce un film.
in : Ferrania , Milano. Ill, 12 di-
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The Photoplay Synopsis. Introd di
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Quiere usted ser actiiz o actor de
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Madrid, El Varon de Arcediano -
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PRIVE, J. C.
Film Acting. Trad, di Ivor Montagu.
London, 1935.
138
PUCCINI, Gianni & PASINETTI, Fran-
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La Regia cinematografica.
Capitolo sul regist-a. (vedi Pasmetti,
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RADINOFF Florence
The Photo playwright's Handy Text-
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New York, Manhattan Motion Pic-
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.RADNOR, Lecma
The Photoplay Writer. The Author.
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RAGGHIANTI, Carlo L.
I problemi artistici e tecnici del
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RAMSAYE Ten- y
Motion Picture Making and Exhibi-
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Chicago, C. C. Thompson Co., 1914
RAPEE, Erno
Motion Picture Moods for Pianists
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by Erno Rapee - adapted to fifty-
two moods and situations.
New York, G Schirmer, 1924, pp. 678.
Erno Rapee s Encyclopedia of Mu-
sic for Pictures; as essential as the
picture.
New York, Belwin, 1925, pp. 510.
RATHBUN, B. John
Motion Picture Making and Exhibi-
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London, T. Werner Laurie, 1914, pp.
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Chicago, Stanton, 1914.
RICHARD, A. P.
La technique.
in L'Art Cinematographique ,
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RODS, Carl
Ftlmmaniskriptet. (Soggetti cinema-
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Kobenhavn, Atheneum, 1940, pp. 139,
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ROSE, Tony & BENSON
How to Act (vedi Benson),
ROSS, Ernest Nathaniel
Scenario Writing.
Philadelphia, Penn Ass'n , 1912,
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RUSSSEL, L. Case
The Photo-Playwrights Primet.
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SABANEEV, Leonid L.
Music for the Films; a handbocz 101
composers and conductors.
Translated by S. W Prmg
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SCHEMING, F. M.
Motion Picture Acting
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(SEDLAK, Jau) a cura di
Ako pisat pre film. (Come scru^re
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Pr^ha, Ceskoslovenske Filmove Xa-
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Contiene scritti di S J , Srarz K ,
Wassermann V., Ivahna L., Rozner
J , Plicka K., Sedlak J , Biehk P ,
Bahna V.,
SHAPIRO, Clarence M.
I Scout for Movie Talent, a guide
to the requirements for an artist's
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Chicago, Krock, 1940.
SHERIDAN, Leland
Why You ( r Scenano doesn't sell;
and how you can make it.
1926, pp. 112.
SHKOVSK1, Victor
Kak pisat szenarii. (Come bcrivere
uno scenario).
Moskva, OGIZ, 1931, pp. 83
SLEVIN, James
On Picture Play Writing; a hand-
book of workmanship.
Cedar Grove (New Jersey), Farmer-
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SMITH, Frank Horace
How to write Photoplays.
Newark (New Jersey), F H Smith,
1915, pp. 19.
SNYDER, Leslie Raymond
Photo drama.
Detroit, Photodrama Co., 1913,
pp. 54-
STEELE, John L. & CARTER, Wil-
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The Photoplay Writer, (vedi Carter
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STOCK, Freda & WHITE, Moresby
The right way to write a film.
London, Rolls House, 1948, pp, 117.
STRONG, L. A. G.
The Director.
London, Methuen, 1946.
STURTZ, Giinther
Der Produktionsgang eines Ton films.
Stuttgart, E. Walther, 1933, pp. 116,
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139
SWARTZ, Walter George & MIKA-
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The Rudiments of Photoplay Con-
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SZUCS, Adam
Hogyan ke'szul a rajzos film? (Co-
me si prepara il cartone animate).
Budapest.
TALBOT, Frederick A.
Moving Pictures; how they are ma-
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Philadelphia, J. B. Lippincott Publ.
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London, Heinemann, 1912.
Moving Pictures; how they are ma-
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TAMBERLANI, Carlo
L'interpretazione nel teatio e nel ci-
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Roma, Azienda Tipogr. E. Naz.
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TERRISS, T.
Writing the Sound and Dialogue
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Hollywood, Palmer Institute of Au-
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TESTOR, Frank
Film-Ideen. Wie man sle schreibt
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buch fur Films chriftsteller und sie,
die es werden -wollen.
Magdeburg, Burgverlag, 1919, pp.
*03-
THOMAS, Arthur Winfield
How to write a Photoplay.
Chicago, Photoplayw right's Ass'n
of America, 1914, pp. 327.
Photoplay Helps and Hints.
Chicago, Cloud Publ. Co., 1914,
PP- 95-
TOOTELL, George
How to Play the Cinema Organ. A
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London, W. Paxton and Co., 1937,
pp. 114, ill.
TRAUB, Hans
A Is man anfing zu filmen.
Berlin, 1940, pp. 80.
Der Weg des Film von der Planwi&
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Berlin, Die Ufa Lehrschau , 1941 ?
pp. 64.
TRUE, Lyle C.
How and what to play for Moving
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San Francisco, The Music Supply
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UCCELLO, Paolo
II montaggio pratico del film.
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VALE, Eugene
The Technique of Screenplay Writ-
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New York, Crown, 1944.
VAN LOAN, Herbert Hartwell
How I did it.
Los Angeles, The Whittingham
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VARNAI, Istvan
Mesek a mozigdprol - Hogyan kgs-
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VLAD, Roman
Tecnica della musica per film.
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Stage and Film Decor.
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WALTER, F. H.
The Modern Drama- its traits ten-
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WARNCKE, Hermann
Anleitung zm Amatbeitnng von
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Contiene scritti di* Stromberg, Cu-
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La\ technique du film. Etudes reu-
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WEST, G. & LANG, E.
Musical Accompaniment of Moving
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140
WESTCOTT, Harry 0.
A glossary for the students of the
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The Art of Photoplay Writing.
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WHITE, Moresby & STOCK, Freda
The right way to write a Film.
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Wie entsteht em Film
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WILLIS, Frank McGrew
Motion Picture Writing Simplified;
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Los Angeles, The F. McGrew Willis
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WINKOPP, C. G,
How to write a Photoplay.
New York, The Author, 1915, pp. 31.
WRIGHT, William Lord
The Motion Picture Story; a text-
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Fergus Falls (Minnesota), Lundeen
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Photoplay Wntiwg.
New York, Falk Publ. Co., 1922,
pp. 228, ill
WULFP, Erwin
Wie werde ich Kmoschauspiclerm
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Dresden, Rudolph 'sche Verlagsbuch-
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YOUNG, W. H.
Scenario Secrets; a practical course
of instruction that is both professio-
nal and complete; written by a mem-
ber of a studio staff, and revealing,
for the first time, the secrets of
every form of the scenario.
Raleigh (North Carolina), Efficiency
Co., 1925, pp. 126, ill.
ZELJABUZSKO, J.
Isskusstvo operatora. (L'arte del-
1 'operator e).
Moskva, Gosudarstvennoe Izdatelst-
vo Legkoj Prornyslenosti, 1932, pp
255, So.
ZUVER, Embrie
Photoplay Writing.
New York, E-Z Scenario Co., 1914,
pp. 24.
How to write Photoplays.
New York, E-Z Scenario Co., 1915,
PP- 34-
141
CAP1TOLO V
I Problem! social! e moral!
Lo spettacolo cinematografico, destinato ad un vastissimo pubblico, ncco
com'e di immediate suggestion!, e stato naturalmente preso in considerazione,
oltre che come arte, tecnica e industna, anche quale fattore sociale. I rapporti
tra il cinema e il pubblico, o meglio gli effetti che esso produce sul pubblico
interessano lo studioso di psicologia, il sociologo, 1'autorita politica e quella
religiosa. Mentre il pnmo studia il meccanismo che produce determmati effetti,,
gli altri mvece si preoccupano direttamente degli effetti.
Essi hanno sammato 1-e possibihta che il film abbia una particolare azione
sulla coscienza morale e sul comportamento delPindividuo ; hanno suggerito ri-
medi per gli infltissi nocivi, ed hanno escogitato mezzi per potenziare quelli
favorevoh. Nel primo caso hanno suggerito la oensura ; nel secondo hanno dato
vita al cinema educativo.
I hbri raccolti in questo capitolo sono dedicati a tutti questi problem!. Sono
raggruppati in tre sezioni : Aspetti sociali in generale ; Cinema Educativo ; Cen~
sura Cmematografica
Nella pnma si trovano i libn che trattano . gli effetti del film sul pubblico^
escludendo quelli strettamente scientific!; le ripercussiom sulla morale del pub-
blico in genere e della gioventu in particolare; i riflessi politic! delle piu diverse
forme di attivita cinematografica ; taluni rapporti tra il cinema e la cultura. A
tutti questi si aggmnge un aspetto sociale completamente diverse- le condizioni
di lavoro nell'industna cinematografica.
Nella seconda sezione sono raccolte le pubblicazioni che trattano del film
come mezzo d'insegnamento e d'educazione (escluso il film strettamente scienti-
fico) ; del cinema nelle scuole e del cinema non strettamente educativo, ma pro-
dotto esclusivamente per i ragazzi a scopo ricreativo.
Nella terza s-ezione si trovano gli scritti sulla censura cinematografica: i
principi basilari, le varie interpretazioni, la critica delle legislazioni e provve-
dimenti. Alcuni volumi che trattano 1'argomento dal punto di vista esclusiva-
mente giuridico sono stati rinviati nel Capitolo VI.
LES PROBLEMES SOC1AVX ET MORAUX
^ Le spectacle cinematografique, riche de suggestions directes et touchant un
innombrable public, a ete tout naturalement consider^, an dela de ses caractens-
tiques d'art, de technique, d'industrie, comme facteur social. Les rapports entre
le cinema et k public, ou mieux, les effets qu j il produit sur le public, inter essent
le psychology, le sociologue, I j autorit6 politique et 1'antorite religieuse Alors
que le premier etudie le m^canisme provoquant des effets determines, ks autres
se preoccupent directement de ces effets.
142
Les derniers ont ainsi examine les possibilites de repercussion du film stir la
conscience morale et le comportement de 1'individu; ils ont suggere des remedes
centre les influences nocives et ils ont imagine des moyens pour renforcer les
benefiques. Dans le premier cas, ils ont considere la censure, dans le second, ils
ont exalte le cinema educatif.
Les ouvrages repris dans ce chapitre sont consacres a tous ces problemes. lis
sont groupes en trois sections . Aspects sociaux generaux ; Cinema Educatif, Cen-
sure Cmematographique.
Dans la premiere, on trouvera les volumes ou etudes (exclus ceux utrictement
scientifiques), qui traitent . les effets du film sur le public; les repercussions sur
la morale du public en general et de la jeunesse en particulier; les consequences
dans 1'ordre politique des plus diverses formes de la cinematographic, certains
rapports entre le cinema et la culture. S'y ajoutent les ouvrages centres sur un
aspect social particulier: les conditions de travail dans 1 'Industrie cmematogra-
phique.
Dans la seconde section, sont groupees les publications qui envisagent le film
comme, moyen d'enseignement et d'education (exclus le film strictement scien-
trfique) le cinema dans les ecoles et le cinema non nettement educatif, mais en-
visage pour les enfants a titre recreatif.
Dans la troisieme section, figurent les ecnts sur la censure cmematographi-
que * les pnncipes de base, les diverses interpretations, la critique des legislations
et des dispositions admmistratives. Quekjues volumes, qui traitent I'argurnent
d'un point de vue exclusivement juridique, ont etc* classes dans le Chapitre VI.
MORAL AND SOCIAL PROBLEMS
Designed as they are for a very large public and rich in immediate impres-
sions, film performances have of course been considered not only from an artis-
tic, technical and industrial point of view, but also as a social factor. The relation
between the cinema and the public, or rather the effects of the former on the
latter, are of interest to students of psychology, sociologists, politicians and the
clergy. Whereas the former study the mechanism producing certain effects, the
others are directly concerned with the effects themselves.
They have examined the possibility of films having a special effect on the
moral conscience and behaviour of individuals , they have suggested remedies for
such effects as are harmful and have devised all sorts of ways of making the
best possible use of their favourable effects. In the former case they have sug-
gested censorship and in the latter they have promoted the production of educ-
ational films.
The books in this chapter are devoted to all these problems and are divided
into three sections : social aspects in general , educational films ; film censorship.
The first of these sections contains the books dealing with the effects of the
cinema on the public, excluding those which are strictly scientific; its repercus-
sions on the morality of the public in general and of young people in particular ;
the political reflexes of the most widely differing forms of cinematography; some
connections between the cinema and culture. To all the foregoing must be added
a social aspect of quite a different kind : working conditions in the film industry.
The second section is devoted to publications dealing with films as a medium
for teaching and education (with the exclusion of the strictly scientific film),
with the use of films in schools and with films which are not strictly speaking
educational, but are produced exclusively for the entertainment of children.
The third section contains the writings on film censorship : its basic prin-
ciples, the various interpretations thereof, criticisms of the existing laws and
regulations. Some volumes which deal with this subject from an exclusively legal
point of view have been placed in Chapter VI.
143
A) ASPETTI SOCIALI IN GENERALE
ACKERKNECHT, Erwin
Denkschrift zur Deutschen Lichtspiel-
reform.
Stettin, Verlag Hessenland, 1917,
PP- J 2.
ADVISORY COMMITTEE ON SO-
CIAL QUESTIONS. LEAGUE OF
NATIONS
The Recreational Cinema and the
Young.
Geneva, League of Nation, 1938.
ALEKSANDROV, G. V.
Kinematografija na slugibe reakzji.
(La cinematografia borghese al ser-
vizio della reazione).
Moskva, Pravda-, 1948.
ALLAPORT, Ward Fayette
Le cinema et I' opinion publique.
in <c Le r61e intellectuel du cine-
ma (vedi m Cap. I)
ALTENLOH, Emilio
Zur Soziologie des Kmo, Die Kino-
Unternehmung und, die Sozialen
Schichten ihrer Besucher.
Jena, Eugen Diederichs, 1914, pp.
102.
ALTMAN, Georges
fa c'est du cinema.
Paris, Les Revues , 1931, pp. 272.
Le film de propaganda pendant la
guerre.
in: La Revue du Cinema , Paris,
22, aprile 1931.
ANDERSEN, H.
Ftlmen i social og dkonomisk Belys-
ning. (II film dal punto di vista so-
ciale e economico).
Kobenhavn, 1924, pp. 164, 8.
ARNHEIM, Rudolf
De I'injluence du cinema sur le
public.
in : c Le r61e intellectuel du cine-
ma . (vedi in Cap. I).
11 cinema documentario e i popoli.
in : Cinerivista c II Ventuno , Ve-
nezia. 3-4, agosto 1938
II cinema e la folia.
in: Cinema n. s., Milano II, 25,
30 ottobre 1949.
ARNOUX, Alexandre
Influence du cinema.
in : Le r61e intellectuel du cme"-
ma . (vedi in Cap. I).
JkSHLEY, Walther
The Cinema and the Public; a cri-
tical analysis of the origin, consti-
tution and control of the "British
Film Institute".
London, Nicholson and Watson,
1934, pp. 44, 8
Aspetti sociali del cinema (Quaderai
antologici) .
Roma, Istituto Internazionale per
la Cinematografia Educativa, pp. 234.
AVENARIUS, Ferdinand
Der Film als Veileumder, Beispielc
utnd Bemerkungen zur Technik dw
Volker-verhetzung.
Mi&ichen, Callwey, 1915 pp. 78,
ill. 72.
BAECHLiN, F. & MULLER-
STRAUSS, Maurice
La presse filmee dans le monde.
Pans, UNESCO, 1951, pp 97.
BALAZS, Bela
The Film of the Bourgeoisie.
m: New Theatres, New York,
agosto 1934.
}'ilm into Fascism.
in * cc New Theatre , New York
ottobre 1934.
Cinema e capitahsmo.
i r Essenza del Film , * cura di
F. Di Giammatteo. (vedi in Cap. 1).
La cultura e il cinema.
in : La Rassegna d'ltalia , Mila
no. IV, i, gennaio 1949.
La cultura e il cinema.
in : <c Bianco e Nero , Roma, X,
3, marzo 1949.
BARRY, Iris
Let's go to the Mo-vies, (vedi in
Cap. I).
BARSCIAK, O.
Kino-tovariscciestva u lerie-vnie. (Ci-
ne club in campagna).
Moskva, Tea-kinopesciat, 1930.
BAUMANN-AMMANN, W.
Uber Entwicklung, Nutzen und
Schadeni cber Kinematographie.
Zurich, Orell Fiissli, 1913.
BEGTRUP, Bodil
Born og film. (Ragazzi e film).
Kobenhavn, Det Danske Forlag,
^947, PP- 96, ill., 8.
BELL, Oliver
Sociological Aspects of the Cinema.
London, Nature, 1939.
War Time uses of the Film.
in: Journal of the Royal Society
of Arts , London, aprile 1940.
144
BELLING, Curt
Der Film in Staat und Partei. Pref.
di Carl Neumann.
Berlin, Der Film , 1936, pp. 143.
Der Film in dienste der Partei. (Die
Bedeutung des Films als publteist.
Faktor).
Berlin, LBB, 1937, pp. 50
BELLING, Curt & BETZ, Hans Walt-
her & NEUMANN, Carl
Film-Kunst f Film^Kohn, Film-Kor-
ruption. Ein Streifzug durch vier
Film-Jahrzehnte. (vedi in Cap. I).
BELLING, Curt & SCHUTZE, A.
Der Film in der Hitlerjugend.
Berlin, Wilhelm Limpert, 1937,
pp. 87.
BENOIT-LEVY, Jean
Le grands missions du cine'ma.
(vedi in Cap. I e III, A ).
BERACHA, Sammy
Le mirage du cinema. Introduction
a une esthetique et a une sociologie
du cinema,, (vedi in Cap. I e III A).
BERATUNGSKOMMISSION IM VOL-
KERBUND ZUM SCHUTZ DER
KINDER UND JUGENDLICHEN.
Wirkungen des Kmos auf die Men-
talitat und Moral der Kinder. Die
Zensurbestimmungen der ganzen
Welt.
Genf, Volkerbund, 1926.
BERG, Gustav
Filmen i Kulturens tyanst; fo'redrag
Did 2; dra Nordiska Filmkongressen
a Palasteatret i Kopenhaven den 21
mat 1926 (II film al servizio della
ctiltura; discorso tenuto al congres-
so del film al Palasteatret di Cope-
naghen il 21 maggio 1926).
Stockholm, Zettelung & Thelanders,
1926, pp 15.
BERGMANN, Franz & WARSTAT,
Willy
Kino und Gemeinde.
Mtinchen - Gladbach, Volksverein,
1913, pp 112.
BERNSTEIN, Sidney L.
The Film and International Rela-
tions.
Chftonville (Kent), Worker's Film
Association at Cliftonville.
BETZ, Hai*s-Walther & NEUMANN,
Carl & BELLING, Curt
Film-Kunst f Film-Kohn, Pilm-Kor-
ruption. (vedi Belling, Curt & Betz,
Hans-Wai ther & Neumann, Carl).
BEZZOLA, Guido
Compiacimento morboso e culto del-
la violenza.
in* Cinema , n. s., 83, i apri-
le 1952
BJORKLUND, C. J.
Kampen om Filmen. (Battaglie in-
terne al film).
Stockholm, 1945, pp. 373.
BIE, Richard & MUHR, Alfred
Die Kulturwaffen des neuen Reiches.
Jena, Eugen Diederichs, 1933, pp. 157.
B. L T.
Die Arbeitsbedlngungen in Film-
Werkstaetten.
Geneve, Bureau International du Tra-
vail, 1929.
BLUMER, Herbert
Movies and Conduct.
New York, Macmillan, 1933, pp.
257, So.
BLUMER, Herbert & HAUSER, PM-
liip Morris
Mo-vies, Delinquency and Crime.
New York, Macmillan, 1953, pp. 233,
8,
BOLLMAN, Gladys & BOLLMAN,
Henry
Motion Pictures for Community
Needs.
New York, H. Holt and Co., 1922,
pp. 298, ill.
BORN, Emil & SAMULEIT, Paul
Der Kinematograph als Volks- und
Jugendbildungsmittel. Vortrdge und
Verhandlungen der 42. Hauptver-
sammlung der Gesellschaft fur Ver-
breitung -von Volksbildung.
Berlin, Ges. fur Verbreitung von
Volksbildung, 1912, pp. 60.
BOWER, Dallas & HERRING, Robert
Robert & BRYHER, Winifred
Cinema Survey.
London, Brendin, 1937, pp. 31, 8.
Sommario : Bower : Film in the
Social Scene - Bryher : Film in
Education - Herring : Film m En-
tertainment.
BOX, Kathleen
The Cinema and the Public: an in-
quiry made in 1946 by the Social Sur-
vey into cinema-going habits and
expenditure.
London, Social Survey, 1946.
BOX, Kathleen & MOSS, Louis
The Cinema Audience, an inquiry
made by Wartime Social Survey for
the Ministry of Information.
London, Wartime Social Survey,
1943
BRAUN-LARRIEU, Andre
Le r6le social du cine'ma. Prefazione
di Louis Lumiere.
145
10
Paris, Cineopse, 1938, pp. 187.
BREUER, Karl
Kinematograph imd Jugendschutz.
Erfolge und Erwartungen. Mit An-
hang: Geschaftsbericht des Frank-
furter Verbandes zum Schutze der
fugend gegen die Schundliteratu\r.
Frankfurt a. M., F. Kaufmann u.
Co., 1914, PP- 34-
BRITISH FILM INSTITUTE
The Film in Colonial Development:
a report of a conference.
London, British Film Institute, 1948.
The Film in National Life: the pro-
ceedings of a conference held by the
B. F. I.
London, British Film Institute, apri-
le 1943.
BROD, Max & THOMAS, Rudolf
Liebe im Film.
Giessen, Kindt und Bucher, 1930,
PP 31-
EROHEE (Canonico)
Le cinema et les missions.
Louvain, Ancam, 1934, pp. 30, 8.
BROHEE (Canomco) & CARTUY-
VELS (Mans.)
Le centre catholique d'action cini-
matographique .
Bruxelles, C.C A.C., 1933, pp. 39, I2.
BROWN, Robert
II mito di Hollywood e la sua vit-
tima.
in a Cinema n. s., Milano, IV, 68
e 70, 15 agosto 1951 e 15 settem-
bre 1951.
BRUNNER, Karl
Der Kinematograph von heute - eine
Volksgefahr.
Berlin, Vaterland. Schriftenverlag,
1913, pp. 32.
Vergiftete Geistesnahrung ? Eine
erste Mahnung an Jugendliche, El-
tern und Erzieher.
Leipzig, Dieterich'sches Verlags-
haus, 1914, pp. 18.
BRUYN ANDREWS, Cyril
The Theatre, the Cinema and Our-
selves.
London, Clarence House Press, 1947.
BRYHER, Winifred & BOWER, Dallas
& HERRING, Robert
Cinema Survey, (vedi Bower, Dallas).
BUCHANAN, Andrew
Film Propaganda.
London, 1936.
Film and the Future.
London, Allen and Unwin, 1945, pp.
104 (i* ed. : 1936).
Budoucnost filmu (Film and the
Future). Trad, di Jiri Pik e Josef
Volek.
Praha, Ceskoslovensky Filmovy Nak-
ladatelstvo, 1946, pp. 119, 8.
Spiritual Possibilities of Film. An
address given at a conference of the
Christian Film Council.
London, Christian Film Council,,
1945.
Going to the Cinema.
London, Phoenix House, 1947, pp.
160.
BURNETT, R. G.
The Cinema for Christ.
London, The Religious Tract Society,,
1934, pp. 128, 8.
BURNETT, R. 5 MARTELL, D.
The Devil's Camera; menace of a.
film-ridden world.
London, Ep worth, 1932, pp. 130.
CABALLERO IMENEZ, Ernesto
El cine y la cultura humana.
Bilbao, Imprenta Hispano America-
na Conf erencias , 1944.
CARTER, Hirntly
The new Spit it in the Cinema; an
analysis and interpretation of the
parallel paths of cinema, which have
led to the present revolutionary
crisis forming a study of the cinema
as an instrument of sociological
humanism.
London, Harold Shay lor, 1930, pp.
403, ill., 8.
CARTUYVELS (Mom.) & BROHEE
(Canonico)
Le centre catholique d'action cme-
matographique.
(vedi Brohee).
CHARTERS, Werret Wallace
Motion Pictures and Youth.
New York, Macmillan, 1933, PP* 66.
CINEMA COMMISSION OF INQUIRY
The Cinema, its present position and
future possibilities; being the report
of and chief evidence taken by the
Cinema Commission of Inquiry in-
stituted by the Nat. Council of Public
Morals.
London, Williams and Norgate, 1917,.,
PP 356, 8.
CIVARDI, Luigi
II cinema ed i cattolici.
Roma, Anonima Romana Cattolica,,
1937, pp. 51.
II cinema.
Roma, Centro Cattolico Cinematogra-
fico, 1940, pp. 80.
146
II cinema di jwnte alia morale.
Roma, 1940.
Cinema e morale.
Roma, Centre Cattohco Cinematogra-
fico, 1948, pp. 204.
CLAIR, Rene
Le ctneniatographe contre V esprit.
(Conference du 19-2-1927 an College
Libre des Sciences Sociales).
Pans, Cinemagazme, 1927, pp. 14.
COCHRAN, Blake
Film on War and American Policy.
Washington, American Council on
Education, 1940.
COLLARD, Charles
La cinematographic et la cnmmalite
infantile.
Bruxelles, Larcie, 1919, pp. 91, 8.
CONRADT, Walther
Kirche und Kinematogiaph. Eine
Frage.
Berlin, Walther, 1910, pp 73
CONSTANT
La question des cinemas.
Bruxelles, Action Cathohque, 1919,
pp. 24, 1 6
CORTE, Ema
Der Jugendschutz im deutschen
Lichtspielwesen.
Berlin, F. A. Herbig, 1926, pp. 30.
Cotes morales de tons les films
Paris, Ed Pensee Vraie. s.d
CREMER, Ernst
Die Schule hn Kampfe gegen den
Schmutz in Wort und Bild.
Dusseldorf, L. Schwann, 1909, pp 36.
DAHMS, Erich
Film und Filmindustne in ihrer
volkswirtschaftlichen und Kulturel-
len Bedeutung.
Greifswald, 1925, pp. 140.
How to Appreciate Motion Pictures.
New York, Macmillan, 1933, pp. 243.
The Content of the Motion Pictures.
New York, Macmillan, 1935, pp. 81.
DALE, Edgar
Children's, Attendance at Motion
Pictures.
New York, Macmillan, 1935, pp. 81.
The Content of Motion Pictures.
(Motion Picture and Youth).
New York, Macmillan, 1935, pp. 234,
ill.
DANNMEYER
Bericht der Kommission fur "Leben-
de Photographic". Hrg. v. d. Ges.
Freunde d. vaterl. SchuL - u. Erzie-
hungswesens zu Hamburg.
Hamburg, 1907.
DARD, Mich*!
Valeur humame du cinema.
Pans, Le Rouge et le Noir , 1928,
pp. 20.
DAUTERT, Erich
Wacheuschau und Wolksbildung.
Berlin, Zentrahnst. f. Erziehung u.
Unterricht, 1932, pp. 40.
DEKEUKELEIRE, Charles
L J emotion sociale.
Bruxelles, Maison du Pote, 1942,
pp. 116, 16.
DEL BUONO, Oreste
Ha supeiato la violenza dci gangstci.
m Cinema Nuovo , II, 8, i apri-
le 1953.
DEUTSCHEN LICHTBILD GESELL-
SCHAFT
Der Film hn Dtenste der nationalen
und witthschaftlichen Werbearbeit;
mit Anhang Film und Bild in
Dienste unserer Feinde.
Berlin, Deutsche Tageszeitung, 1917,
pp 24-
DIELE, H.
Kino und Jug end
Warendorf, J. Schnellsche Buchhand-
lung, 1913, pp. 66.
DOGLIO, Carlo
Sociale e non politica la crisi del
film francese.
in* Cinema , n. s., 87, i giugno
1952.
DREYFUS-BARNEY, Laura
The Cinema and Peace.
in . a International Review of Edu-
cational Cinematography , Roma ?
apnle, 1934.
DUNNER, Julia
Neu\e wcge zur Bekampfung de) Ge-
fahr des Lichtspieltheater.
Koln, Frauenbundesverlag, 1920.
EATON, Walter
Class-Concsciousness and the Mo-vies.
in * Atlantic Monthly , New York>
EGER, Lydia
Kinoreform und Gemeinden.
Dresden, Zahan und Jaensch, 1920,,
PP- 53-
Der Kampf urn das neue Kino.
Munchen, Callwey, 1924, pp. 30.
ERNST, G. & MARSCHALL, B.
Film und Rundfunk. Zweiter Inlet-
nationaler katholischer Fdmkongress.
Erster Internatwnaler Katholischer
Rundfunkkongress. Gesamtbericht.
Mimchen, Leohaus, 1929, pp. 432.
147
Evaotigelis'dber Filmkongress 1931 (Gas-
sel 9-5 Mai 1931).
Essen, Gemeiwohl, 1931, pp. 100.
FARRAND THORP, Margaret '
America at the Movies .
Yale University Press, 1939.
London, Faber, 1946.
Fighting a Vicious Film; Protest
against The Birth of a Nation.
Boston, National Association for the
Advancement of Colored People,
1915, PP- 47-
Film und volk. Beitrage von R. Mu-
ckennann, R. Beissel, L. Nusser, O.
Sfceinbrink, ecc.
Essen, Essener Volkztg., 1926, pp. 95
Filmiragen (E. Arnet: Das Religiosse
im Film).
Zurich, Prot. Film-Gememde (Wan-
derer Verlag), 1942, pp. 24.
FLUGGE, C. A.
Eniartungscrscheinungen im Kino.
Kassel, Oncken Nachf., ^924.
FORD, Richard
Children at the Cinema.
London, Allen and Unwm, 1939,
pp. 232.
FORMAN, Henry James
Our Movie made Children. (A Payne
Fund publication).
New York, The Macmillan Co., 1935,
pp. 288.
GATTI, Tancredi
Produzione "gialla" e suggestwne
criminal e.
Citta di Castello, Tipografia Leonar-
do da Vinci, 1937,
GAUPP, Robert & LANGE, Konrad
Der Kin emato graph als Volksunter-
haltungsmittel. (Rifatto da R. Gaupp
e L. Kjerbull-Petersen).
Munchen, Georg Callwey, 1922, pp.
48. - i a ed. ; 1912, pp. 50.
Sommario . D-er Kinematograph com
Medizinischen und psychologischen
Standpunkt - Der Kinematograph
vom ethischen und asthetischen
Standpunkt.
IESE, Eberhard
Der Kinoschund wid die Jugend.
Bielefeld, Volkswacht-Buchhandlung v
1920, pp. 16.
CIESE, Hans-Joachim
Die Film-Wochenschau im Dienste
der Pplitik.
Leipzig, 1939.
ILMAN, C. C.
Newer Aspects of the Citizens' So-
lution of the Motion Picture Problem.
Minneapolis, C. C. Oilman, 1926.
GNAM, Arnulf
Der Film m seiner Bedeutung als
Weibemittel.
Munchen, 1930, pp 66.
GOETZ, Karl August
Der Film als journalistiches Phaeno-
men.
Dtisseldorf, Nolte, 1937, pp. 195.
GOLLAS, Edward
The Film in International Relations
in . International Review of Educa-
tional Cinematography , Roma, apri-
le 1934.
GREAT BRITAIN DEPARTMEN-
TAL COMMITTEE ON CHILDREN
AND THE CINEMA *
Report presented in May 1950
GRIERSON, John
The Cinema to-day,
in. Grigson,^ Geoffrey ed. . The
Arts to day , London, Lane, 1935.
Documentary * Post-war Potential.
in Film New , New York, vol. 6,
6 giugno 1945.
Film Horizons.
in : ((Theatre Arts , New York, vol.
30, 12, dicembre 1946.
The Film in British Colonial Develop-
ment.
in cc Sight and Sound , London,
vol. 17, 65, primavera 1948.
Prospect for Documentary; what is
wrong and why.
in. Sight and Sounds, London,
vol. 17, 66, estate 1948.
GRIFFITH, David Wark
The Rise and Fall of free Speech in
America. A counter-attack by Griffith
on critics of "The Birth of a Na-
tion".
Los Angeles, The Author, 1916, pp
45, ill.
GUCKES, Emil
Dei Ton film als Werbemittel in
Deutschland.
Innsbruck, Selbstverlag, 1937, pp
170.
GUNTHER, Walter
Der Film als pohtlsches Fiihrungs-
mittel. Die anderen gegen Deutsch-
land.
Leipzig, Noske, 1934, pp. 32.
HAFKER, Hermann
Die Aufgaben der Kinematographie
in dies em Kriege.
Munchen, Callwey, 1914, pp. 22.
148
HALTER, Hermann
Die Kinofrage Em Wott zui Auf-
klaumg uber das heutige Kino-
Wesen.
Meinngen, W. Loepthien-Klein, 1921,
PP- 42-
HANDEL, Leo A.
Hollywood Looks at its Audience.
University of Illinois Press, 1950.
HARLEY, John Eugene
World wide Influence of the Cinema.
Los Angeles, University of Southern
California Press, 1940, pp. 320.
(HARTLEY, William H.) a cura di
Audio-visual Materials and Methods
in the Social Studies, 1947.
(Eighteenth Year Book) '
Washington, National Council for
the Social Studies, 1947.
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C) - LA CENSURA CINEMATOGRAFICA
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Pare
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FATH, Haas
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GREAT BRITAIN HOME OFFICE
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JiARLEY, Jolin Eugen
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KNOWLES, Dorothy
The Censor, the Drama and the Film,
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LIEBMANN, Manfred -
Die uerwaltungsrechtliche Stellung
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LINDEY, Alex & ERNST, Morris L.
The Censor Marches on: recent mi-
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LORENTZ, Pare & ERNST, Morris L.
Censored! Story of American Censor-
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Censored: the private life of the
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MAC CASE, G. P.
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Die rechtlichen Grundlagen der Thea-
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MONTAGU, Ivor
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Verbotene Filme. Eine Streitschrift.
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Cinema Code.
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State Censorship of Motion Pictures.
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SHORTT, Edward
Problems of Censorship.
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SIMON, Herbert Veit
Zensur ubei Biihne und Film. Ge-
schlchtliche Entwicklung der Film-
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Die mater iellrechthchen Vorausset-
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STERN, Heinricli
Lichtspielgesetz vom 12 Mai 1920
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TADDEI, Nazzareno
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m Bianco e Nero , Roma, XI,
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VIRGINIA. STATE BOARD OF CEN-
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Report (annual).
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WALTUCH, Eimst
Film-Zensur und Strafrecht.
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ZIMMEREIMER, Kurt
Die Film-Zensur.
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167
CAPITOLO VI
I problem! giuridici ed economlcl
PROBL&MES JURIDIQUES ET SCONOMIQUES
LEGAL AND ECONOMIC PROBLEMS
A) ~~ LEGISLAZIONE E PROBLEMI GIURIDICI
ALCHIN, Gordon
Manual of Law for the Cinema Trade.
London, Pitman, 1934, pp 354, 8 -
2 a ed. : 1943, pp. 508.
BAUER, Fritz
Filmprfoatrecht.
Wiirzburg, 1921, pp. 101.
BEUSS, Werner & HERMANN, C.
Die. Lichtspicltheater-verornuwg vom
18. Marz 1937.
Berlin, Union Deutsche Verlagsges.,
*937> PP- 124.
Appendice: Poliseiverot, fiber Er-
richtung u. Betneb elektrischer An-
langen D. 15 Febr. 1935 u. Baupoli-
zeiliche Bestfmmungen Tiber Feuer-
schutz.
BEUSS, Werner & WOLLENBERG,
Hans
Der Film im offentlichen Recht. Ge-
setze, Erlasse u. sonstige behordliche
Bestimmtmgen zum gesamten Lichts-
pielwesen. Unter bes. Bemcks, d.
Retches u. Frelstaats Preussen.
Berlin, Licht-Bild-Buhne, 1932, pp.
402.
BOEHMER, (von) Henning & REITZ,
Helmut
Der Film in Wirtschaft und Recht.
Seine Herstellung wid Verwertung.
Mil einer gmph. Uebersicht tiber d.
Umlauf^ des Geldes in der Film-
indusirle.
Berlin, C. Heymann, 1933, pp. 262-
Das Tonfilmrecht des Auslandes.
in : <c Archiv fur Urheber, Film und
Theaterrecht , Berlin, vol. IX e X,
1936 e 1937.
BRAUCHITSCH
Lichtspielgesetz vom 12 Mai 1920
Berlin, C. Heymann, 1920,
BRUNNEN, Karl
Des neue Lichtspielgesetz im Dienste
des Volks und Jugendwohl Fahrt.
Berlin, Brandend. Presseverband^
1920, pp. 14.
BRUNNER, Robert
Das osterreiche Film- und Kinorecht
nebst den wichtigsten einschlaglichen
Gesetze und Verordnungen.
Wien, M. Perles, 1918, pp. 112.
BURK, Walter
Das Lichtspielwesen in Deutschland
unter rechtspolitischer Beleuchtung
des Lichtspielgesetzes.
Pfungstadt i. Hessen, Graph Kuns-
tanstalt Endler, 1935, pp. 59.
CAPITANI, Ugo
Per V elaborazione di un d^ntto cine-
mat ografico autonomo.
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n-12, novembre-dicembre 1940.
La cinematografia nella legislazione
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in: <c Bianco e Nero , Roma, V, 9,
settembre 1941.
168
CELLARIUS, Ludwig
Pra-ventivpolizei und Reptessivmass-
nahmen, ^nsbesondere im Lichtspiel-
wesen.
Dusseldorf, Nolte, 1933, pp. 95.
CILIBERTI, Ferruccio
Legislazione italiana per la cinema-
tografia.
Siena, Editorl Ex-Combattenti ,
1942, pp. 370, 16
Cinematograph Act. 1909 - Report of
all the Licensing Authorities Admi-
nistering the Cinematograph Act,
1909.
London, H. M. S. O., 1921
Cinematograph Films Act, f027. Re-
port of a Committee Appointed by
Board of Trade.
London, H. M. S. O., 1936
Cinematograph films Bill. Report from
Standing Committee C., with pro-
ceedings.
London, H. M S. O., 1927.
Cinematograph films (Dept. Committee
en). Minutes of evidence, 1st. 4th
days; Minutes of evidence, 5th - 8th
days.
London, H. M. S. , 1936
COHN, Georg
Kinematographeni echt.
Berlin, 1909.
DANIEL, Max
Des Verfilmungsrecht.
Wtirzburg, 1921, pp. 173.
Decret SUIT le rattachement du commer-
ce et de 1' Industrie cinematographi-
ques au Commisariat du peuple pour
Fins traction publique.
in : Aroseff, A Le cinema en
U.R.SS. . (vedi in Cap. II, A).
DIENSTAG, Paul
Die arbeitsvertrag des Filmschan-*
pielers und Filmiegisseurs.
Berlin, Hobbmg, 1929, pp. 168.
DIENSTAG, Paul & ELSTER, A.
Handbuch des deutschen Theater-,
Film-, Musik- und Aftisten-Rechts.
Berlin, Springer, 1932, pp. 538.
DUMORET & MEIGNEN, P.
Le code du cmima - edition, location,
exploitation.
Paris, Dorbon-Aine, 1920, pp. 290.
ECKSTEIN, Ernst
Deutsches Film- und Kinorecht.
Mannheim, Bensheimer, 1924, pp. 510.
Appendice : Vertragsmuster, Ver-
bandsbestimmungen, Richlhiien usw.
nung von 16. Juni 1920.
ELSTER, A. & DIENSTAG, Paul
Handbuch des deutschen Theatei- r
Film-, Musik- und Artisten-Rechts*
(vedi Dienstag, Paul & Elster, A.).
ENGELMAN, Wilhelm
Dei Film und seine ircrtung nach
dem Reichslichtspielgesetz.
Schwelm i. Westf., O Memers, 1928,
PP 46.
ERLER, Helmuth
Das rechtliche Wcseit dcr Reichskul-
turkammer.
Dresden, Ditter und Co., 1937, pp 70.
FREHSE, Werner
Dei Verfilmungsvvthag. Seine
Gntndlagen und seine Rechtsnatur*
Kiel, 1926, pp 96.
FRIEDEMAN, Hellmuth
Giundftagcn des Filmrcchts
in <c Archiv fur Urheber, Film und
Theaterrecht , Berlin, vol. i , 5^
1928.
FROHLICH, Louis . & SCHWARTZ,
Charles
The Law of Motion Pictures; includ-
ing the law of theahc f treating of
the various rights of the author, ac-
tor, professional scenario writer,
director, ptoducci, distributor, exhibi-
tor and the public with chapters on
unfair competition and copynght
protection in the U. 5., Gicat Britain
and her colonial possesswnes
New York, Baker, Voorhis and Co.,
1918, pp. 943.
GODSON, E. A.
Digest of the Cinematography Acts.
London, 1927.
GOLDBAUM, Wenzel
Film - Vettragsrecht an drchieifen
Buchern.
Berlin, 1921.
Ton-Film-Recht.
Berlin, Stilke, 1929, pp. 112
GORRES, K.
Das Ltchtspielgesets im Lichtc der
Verwaltungsrecht.
Baden, Jung, 1921, pp. 80.
GRASSMANN, J. & LIMRICH, O.
Die Reichsverordnung iibet den Si-
cherheits-Hltn-.
Berlin, Hesse, 1939.
GRIEGER, Paul August
LichtspielhauiS und Theater. Baupo-
lizeiliche Vorschriften.
Breslau, Selbstverlag, 1929, pp. 178,
GUEGAN, M. & MAUGRAS, E,
Le cin^matographe de-uant le droit.
Paris, 1908.
169
UNTHER, Rolf
Jugenschutz im Lichtspielrecht.
Wernigerode, 1927, pp. 160
HAHN, M.
Lichtspielgesetz uom 12. Mai 1920,
Textausgabe mit Ausjuhmngs or ti-
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Public Performance Fees in Connect-
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Tonfilm und Filmbegleitmusik, Ihie
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Ptchled ptava jilmoveho.
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La nouvelle jurisprudence fran$ai$&
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175
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Sicherung dei Rentabilitat der deu-
tschen Filmivirtschaft durch Umge-
staltung der Organisation unter be-
sondeier Berucksichtigung der Aus-
schaltung des Verleihers als selb-
stdndigen zwischenhandlers.
Hamburg, 1939, pp. 52.
WINNINGTON, Richard & DAVEN-
PORT, Nicholas
The future of British Films, (vedi-
Davenport, 16).
WOLF, Kurt
Entwicklwig und Neugestaltung dei
deutschen Fttm-Wirtschaft seit 1933.
Heidelberg, Hermann Meister, 1938,
pp. 79
WUKITSEVITS, Alfred
Stehung und Bedeutungg des Film -
und Kinowesens in der Volkswirt-
schaft.
Wien, Selbtsvlg., 1934, pp. 56.
ZIMMERSCHEID, Karl
Die deutsche Ftlmindustrie f ihre
Entwickhmg, Organisation und Stel-
lung in deutschen Wirtschaftsleben*
Stuttgard, C. E. Poeschel, 1922,
pp. 163,
182
CAPITOLO VII
II cinema e la scienza
In questo capitolo sono raccolti senza divisione sia i lavori relativi ai prm-
cipi scientific! che sono alia base del cinema o ne hanno condizionato 1'evoluzione;
sia gli studi che trattano del film come mezzo di indagine scientifica ; sia gli studi
sulla essenza del fatto cinematografico e sulle sue conseguenze. Quail esenipi si
possono citare, per i pnmi i lavori di Plateau, per i secondi quelli di Bull, per gh
ultimi le pubblicazioni di Cohen-Seat ed in gen ere di psicologia del cinema.
LE CINEMA ET LA SCIENCE
Dans ce chapitre, sont rassemble"s sans subdivision, les travaux relatifs aux
principes scinetifiques qui sont a la base du cine*mea ou en ont conditione 1'evolu-
tion, les ouvrages qui traitent du film comme moyen d'analyse scientifique, les
Etudes sur 1'essence du fait cin6matographique et sur ses consequences Comme
exemples, on pent donner, pour les premiers, les travaux de Plateau, pour les
seconds ceux de Bull, pour les dernieres, les publications de Cohen-Seat et en
ge'ne'ral, de psychologic appliquee au cinema
THE CINEMA AND SCIENCE
This chapter includes, without any division, works relating to the scientific
principles upon which the cinema is founded, or which have influenced its devel-
opment, and studies dealing with the cinema as a medium of scientific research
or with the essence of the cinematographic fact and its consequences.
As examples let us quote for the first type the works of Plateau, for the
second those of Bull and for the third the publications by Cohen-Seat and those
on the psychology of the cinema In general.
ALBERTINI, Laura & CARUSO, Ma- ALLEMAND, Marguerite
ria Pia Cinema et medecine.
Percezione ed interpretazlone di im- Alger, 1940.
ALLEN0Y, R.
tnagini cinematografiche nei mgaz-
zi. (Un esperimento con Nanook
di Flaherty). La mleur psycologtque de I'unage.
in: Bianco e Nero , Roma, X, 5 in- L J Art Cinematographique ,
maggio 1949. vol. I. (vedi In Cap. I).
183
ANOSCENKO, N. D.
D kino pomosci osvenniu texniki.
(II cinema in aiuto alia tecnica).
Moskva, Leningrad, 1935.
ARNHEIM, Rudolf
Scienza e tecnica.
in: Cinema v. s., Roma. II, 16,
febraio 1937.
AUTORI VAR!
Nauka i kino. (La scienza e il ci-
nema). Pref. di Grigoriev.
Moskva, Goskmoisdat, 1950.
Contiene scritti di" Komorov, Cm-
dakov, Oparin, Artobolevski, Scer-
bakov, Gherasimov, Fedorov, 7>hm-
km, Zhdan.
BARBARO, Umberto
II cinematogwfo a servizto it'll a
scienza.
in: Quadrivio , Roma, 2$ gMgno
1936.
Problemi della filmologia.
in: Cinema , n. s., Milano, II,
23, settembre 1949.
BERNDT, W.
Natur in Film.
Berlin, Wissenschaftl. Abteilung der
Decla-Bioscop. pp. 36.
(BODWEN, Lloyd) a cura di
Science in Film. I, A world review
and reference book.
London, Sampson-Low, Marston &
Co., 1948. pp. 238.
BUCKLE, Pert Gerard
The Mind and the Film; a treatise
on the psychological factors in the
film.
London, Routledge & Sons, 1926,
PP- 133, 8.
BULL, M. L.
Cinematographic des mouuements ul-
trarapides.
Paris, 1941.
CARUSO, Maria Pia & ALBERTINI,
Laura
Percezione e interpretazione di im-
magini cinematografiche nei ragaz-
zi. (Vedi Albertini, Laura).
CAUDA, Ernesto
J^ cmematografo a>l servizio della
Scienza.
Roma, Quadrante, 1936, pp. 437.
CHANCE, Edgar
The Citckoo j s Secret.
London, Sidgwick & Jackson, 1922,
pp. 253-
CHIARINI, Ligi
Esperienze. La psicologia e il ci-
nema.
in: Bianco e Nero , Roma, VII,
5, maggio 1943.
COHEN-SEAT, Gilbert
Essai su\r les pnncipes d'une phi-
losophie du cinema. I. Introduction
generate Notions fondamentales et
vocabulaire de filmologie.
Paris, Presses Universitaires de
France, 1946, pp. 216, 8.
CONRAD, H. S. & JONES, Harold KL
Psychological Studies of the Motion
Pictures.
Berkeley, University or California
Press, 1928.
CZAPEK, K. C.
Ange-utandte Kin emato graphic kn**
Wissenschaft und Technik.
Dresden, Apolloverlag, 1909.
DEKEUKELEIRE, CSiarles
Le cinema et la pensee. (vedi in
Cap. Ill, A).
DETLEFS, Hermann
Geomettische Kmohefte zur Veran-
schaulichung vemanderhcher Figu-
ren.
Berlin, Otto Salle, 1913.
DEVINE, Joan Edward
Film as an Aid in Training Public
Employes; A report on public admi-
nistration of the Social Science Re-
search Council.
1937-
DIX, W.
Das Selbstgefertige Lichtbild in
seiner erziehe^ischen Bedeutung
fur den Unterncht in Chemie und
Physik.
Leipzig, Quelle und Meyer, 1912,
pp. 70.
DONALDSON, Leonard
The Cinematograph and Natural
Science. The achievements and pos-
sibilities of cinematography as an aid
tc scientific research.
London, Ganes, 1912, pp. 130.
DUCOM, Jacques
La Cinematographie scientifique et
industrielle.
Paris, Librairie des Sciences * t de
1'Industrie, 1911; pp. 335, 8. 2 s
ed. ; Paris, Albin Michel, 1933, pp.
509, 8.
DURDEN, J. & FIELD, Mary &
SMITH, Percy
Cine-biology.
Middlesex, Penguin Book, 1941, pp.
128, ill. -
DUYN, (van) G.
Psychologische Beschounwingen o-
184
ver Film en Bieskoopbezoeker.
(Esami psicologici sul film nello
spettatore cinematografico) .
Baarn, 1926.
DYSINGER, Wendell S. & RUCK-
MICK, Christian A.
The Emotional Responses of Chil-
dren to the Motion Picture Situa-
tion.
New York, Macmillan, 1933, pp.
123, 8.
EPSTEIN, Jean
Finalite du cinema.
in : cc Mercure de France , f ebbraio
1949-
In a Bianco e Nero , Roma, X, 4,
aprile 1949.
ESC0UBE, Luciene
Le cinema scientijique. I. De Jans-
sen h Marey
in : La Revue du Cinema , Pa-
ris, 25, luglio 1931.
Le cinema scientijique. II. La mi-
cro cinematographic.
in: La Revue du Cinema , Paris,
26, agosto 1931
FIELD, Mary & SMITH, Percy &
DURDEN, J.
Cine-biology (vedi Burden, J.).
Film kn, Dienste von Wi&senschaft Un-
terriclit und Volksbildung. (Dr)
Berlin, Kulturabteilung der UFA.
Druck. R. Gahl, 1920, pp 78, ill.
FRANCOIS-FRANCK, CKarles
L'oeuvre de E, /. Marey.
Paris, O. Doin, 1905, pp. 56.
FRANZ, Gimtner
Die Erfahrungen mit medizinischen
Pilmen nach der Literatur bis zum
Jahre 1936.
Berlin, 1940, pp. 46.
FRENKEL, L.
La structure de la matiere a V&cran.
in Aroseff, A. Le cinema en U.
R.S.S. . (vedi in Cap. II, A).
FULCHIGNON1, Enrico
Sul -ualore psicalogico deWimmagine
filmica.
in* Bianco e Nero , Roma, IX,
9, novembre 1948.
Filmologia e psicologia infantile.
in: Bianco e Nero . Roma, X, 12,
dicembre 1949.
FULCHIGNONI, Enrico
Filmologia e psicologia infantile.
in : Bianco e Nero , Roma, X, 12,
dicembre 1949
GAUMONT - BRITISH INSTRUCTIO-
NAL
Atomic Physics; an authoritative film
on the history and development ot
atomic energy.
London, Gaumont-British Instiuctio-
nal, 1948.
GAUPP, Robert
Der Kinemotagiaph voni Med t zini-
schen und psychologischen Stand*
punkt.
in : Lange, k. & Gaupp, R , Der
Kinematograph als Volksunterhal-
tungsmittel . (vedi).
GAUPP, Robert & LANGE, Konrad
Per Kinematograph als Volksunter-
haltungsmittel. (Vedi in Cap V,
A).
GEMELLI, Agostino
La psicologia al servisio della a-
nematografia.
m* <c Bianco e Nero , Roma, I, 9^
settembre 1937,
La psicologia al servizio del cinema-
tografo.
in * Contributi del laboratory di
Psicologia , Milano, 1940, serie 8
GRAU, Hermann
Technick und Film. Die Filmkame-
ra in Dtenste der Technik und Wis-
educative.
Stuttgart, Dieck, 1932, pp. 79, ill.
46
HAAS, A.
Physik des Tonfilnis. 5 gemeinueist.
Vortrdge*
Leipzig, Teubner, 1934, pp. 74.
HAFKER, Herm.
Kino und Erdkunde.
Miinchen - Gladbach, Volks^ r erems-
verlag, 1914, pp. 78.
HOLTZ, Remkoid
Die Phaemenologie imd Psychologic
Trick films.
Hamburg, 1940, pp 56.
INNAMORATI, LIbero UCCELLO^
Paolo
Contribute alle rlcerche sulla natum
delle wcali,
in : Bianco e Nero , Roma, I, i,
gennaio 1937.
INTERNATIONAL EDUCATIONAL
CINEMATOGRAPHIC INSTITUTE.
The Cinema and Scientific Mana-
gement.
Rome, International Educational Ci-
nematographic Institute.
The Effect of the Cinema on the
Sight.
185
Rome, International Educational
Cinematographic Institute, 1929.
The Cinematograph and Hygiene.
Rome, International Educational Ci-
nematographic Institute.
JAUME, R.
Notes sur le Cinematographie agri-
cole.
J. Duculot Gembloux, 1947
JERRENTRUP, Fr.
Beobachtungen ilber des zeitlichen
Verlau-j von Farbivandelspielen.
(Vol. I. de : Abhandlungen uber
Farblichtspiele , a cura di Fr. Jer-
rentrup) .
Bochum-OLangendreer, H. Pappin-
ghaus, 1936, pp. 143.
JONES, Harold E. & CONRAD, H. S.
Psychological Studies of the Motion
Pictures, (vedi Conrad, H S.).
KALBUS, O&car
Der deutsche Lehrfthn in der Wts-
senschaft und im Unterricht.
(vedi in Cap. V. B).
TCAUFMANN, Nicholas.
Die Kinematographie als biologische
Arbeitsmethode fur Forschung und
Unterricht.
in : Hdbuch d. biolog Arbeitsme-
thoden , Abt H, Teil II, 1939.
Basi tecniche del film di medicina.
in : Ferrania , Milano, IV, 3,
marzo 1950.
KOEGEL, Gustav
Der Plastische Film. Die Gestal-
tung des ebenen Bildes fur die pla-
stische Wahrnehmung, insbesondere
in Bezug an/ die Kinematographi-
sche Lichtbilduoriiihrung.
Stuttgart, Frank, 1934, pp. 146, ill
100.
LAMPE, Fnedrick
Lichtbild und Film in Dienste von
Volksbildung und Wissenschajt (ve-
di in Cap. V, B).
LANGE, Konrad & GAUPP, Robert
Der iKncmatograph als Volksnnter-
haltungsmitteL (vedi Gaupp, Ro-
bert & Lange, Konrad).
LEHMANN, Hans
Zur theorle dei iKnematogmphi-
schen Synthese,
Berlin, Vlg. d. Zeitschrift 1 Ins-
trumentenkunde, 1910.
UESEGANG, F. Paul
Wissenschaftliche Kinematographie
Einschlisslich dei Reihenphotogra-
phie. (Neubearbeitung des Hand-
buchs der praktischen Kinematogra-
phie) coll. Kieser - Polimanti.
Leipzig, Liesegang, 1920, pp. 352,
ill. 146.
LISICIAN, Srbui
Zapis duizenija. (Note su il movi-
mento) .
Moskva, Iskusstvo, 1940, pp. 426 4.
LO DUCA, Joseph Marie
La science pour le cindma.
in : <c La Revue du Cinema , Paris,
12, 1948
LOUBATIERES, P. L C.
Cinematographie et sciences medi-
coles.
Bordeaux, 1932.
(LUMIERE)
Resum6 des travaua scient^fiques de
MM. August e et Loids Lumi&re.
Lyon, Paris, 1914.
MADDISON, John
Experiment in the Scientific Film.
in Man veil, Roger Experiment
in the Film . (vedi in Cap. U, B).
MAGGI, Raffaeilo
La costituzione degH attori dello
schermo.
Milano, Editrice <c Vita e Pensiero ,
1936.
Rifles si delVattuale posizione psico-
sociale del film,
in : Bianco e Nero , Roma, XI,
2, febbraio 1950.
MAGNAN, A.
Cinematographie jusqu-'a 12.000 -vues
par seconde.
Paris, Hermann, 1933.
Premiers essais de cinematographic
ultrarapide.
Paris, Hermann, 1932, pp 27.
MAMDAPURKAR, Gopal
V&rsuche iiber die raumliche Ww-
kuwg ebener Bilder. (MH "Besonderer
Berilcksichtigung des Films).
estratto da Zeitschrift f. Psycho-
logie , Bd 144, 1938 - pp. 79, ill. 18
MARBE, Karl
Theorie der . Kinematographischen
Projektion.
Leipzig, Barth, 1910, pp 80
MAREY, Jules Etiexme
La machine animale.
Paris, Bailliere, 1873 - 2 a ed 187?
3 a ed. . 1886.
Le mou'vement.
Paris, Masson Editeur, 1878.
La methode graphique.
Paris, 1878.
Developpement de la me*thode gra-
186
phique par I'emploi de la photogra-
phie 1885.
Le vol des oiseaux.
Paris, Masson, 1890.
La photographic du mouvement.
Paris, 1892.
Nouveaux developpements de la chro-
no photo graphic.
Paris, Imprimerie Nationale, 1897,
PP- 35-
La chronophotographie.
Paris, Gauthier-Villars, 1899.
Paris, Montel, 1928, pp. 72, 8.
MEENSBRUGGHE, (van der) G.
Notice sur J.A.F. Plateau, (vedi in
Cap. II, B).
MENARINI, Alberto
Autarchia della lingua e terminolo-
gia cinematografica.
in: Bianco e Nero , Roma, VI, 2,
febbraio 1942.
Contributi del cinema alia lingua ita-
liana.
L II titolo del film,
in: Bianco e Nero , Roma, X,
4, aprile 1950.
II. I personaggi del film.
in : Bianco e Nero , Roma, X,
5, maggio 1950.
III. Gli interpreti del film.
in : Bianco e Nero , Roma, X,
6, giugno 1950.
MEYERHOFF, Horst
Tonfilm und Wirklichkeit. Grund-
lagen zur Psychologie des Films.
Berlin, Henschel und Sohn, 1949,
pp. 96.
MUNSTERBERG, Hugh
The Photoplay, a psychological stu-
dy (vedi in Cap. Ill, A).
MUYBRIDGE, Eadweaard
Animal Locomotion.
Philadelphia, University of Pennsyl-
vania, 1887, pp. 90.
Animal Locomotion; an electro-pho-
tographic investigation of consecu-
tive phases of muscular actions.
London, Chapman-Hall, 1907.
Descriptive Zoopraxography : animal
locomotion made easy.
1893-
The Human Figure in Motion: an
electro-photographic investigation of
consecutives phases of muscular ac-
tion. (Commenced 1872, completed
London, Chapman & Hall, 1907.
NATIONAL FILM BOARD OF CA-
NADA.
Report on the Use of Scientific Films
in Canadian Universities. Scientific
Films Association.
NAUMANN, Gob. & SCHWARZ, Mar-
I-ene
D*e Bedeutung des Tonfilms *ur die
Volkercharaktereologie.
Hamburg, 1942.
NEAL, Ernst G.
Exploring Nature with a Camera.
London, 1946.
NOZET, Hugues
L'influence du cinema sur la icitnes-
se - etudes experimentales.
in Bianco e Nero , Roma, XII,
5, maggio 1951.
NUMEROSO, Niccolo
II IV Congresso Intenwzio'izle di
Cinem^atografia Scientifica. (."iren^e
7 ottobre 1950).
in : <c Bianco Nero , Roma, XII,
5 maggio 1951.
ORIGLIA, Dino
Problemi ideologici nel hn%u,3,%%io
filmico e filmterapia psi'do^ixi.
in : Bianco e Nero , Roma, XII,
6. giugno 1951.
PAOLELLA, Roberto
Del linguaggio mirnico-gestualz.
in Bianco e Nero , Roma, X, 8,
agosto 1949.
PIKE, Oliver G.
Nature and My Cine Camera.
London, Focal Press, 1946.
PLATEAU, Joseph
Dissertation sur quelques proprieties
des impressions pioduites par la lu~
miere sur I'organe de la VHP, pre-
sente et soutenue a la FacuitJ dcs
Sciences de VUniversiie de Llggc en
mai 1829.
Des illusions d'optiqwe sur lesquel-
les se fonde le petit jouct appele
recemment phenakistiscopc*
in : Annales de Chimie et de Phy-
sique , Bruxelles, 1833.
Essai d'une theorie generate des ap-
parences visuelles. (vedi in Cap.
II, B).
Notes sur une nouvelle application
curieuse de la persistance des im-
pressions sur la r&tine.
in : Memoires de PAcademie Ro-
yale des Sciences , Bruxelles, To-
me XVI, 1849.
Bibliographic analytiqm des princi-
paux ph&nom&nes subjectifs de la
187
vision depuis les temps anoiens
jusqu'h la fine du XVIII slecle sui-
me d'une bibliographic simple pour
la partte 6couUe du siecle actuel.
in Memoires de 1'Academie Ro-
yale des Sciences , Bruxelles, Tome
XLII, 1877 - Tome XLIII, 1879 - To-
me XLV, 1881^82.
Suar une lot de la persistance des
impressions dans I'oeil
in : Memoires de 1* Academic Ro-
yale des Sciences , Bruxelles, Tome
XLVI, 1878.
PONZO, Mario
Psychologic im Kino.
1912.
ROGET, Peter Mark
Optical Deceptions in the Appear-
ance of the Spokes of a Wheel Seen
through Vertical Aperture.
m : Philosophical Transaction .
London, 1824.
ROLLER, Ernst
Aus der Physik des Tonfilms.
Essen, Haus der Technik, 1936,
pp. 27.
RUCKMICK, Christian A. & DYSIN-
GER, Wendell S.
The Emotional Responses of Chil-
dren to the Motion Picture Situation,
(vedi Dysinger, Wendell S.).
RUBENSKI, Dyck
Gestologie und Film-spieler ei. Ab-
Jwndlungen uber die Physiologie
und Psychologie des Ausdrucks.
Berlin, Hoboken- Presse, 1937, pp.
69, ill., tav. 4.
RULON, Phillip Justin
Sound Motion Pictures in Science
Teaching.
Cambridge, Harvard University
Press, 1933.
SABON, Paul
Les Films chirurgicaux.
in: La Revue du Cm6ma , Pans,
8, marz.j 1930.
SACHS, Hans
Psychoanalyse. Ratsel des Unbewus-
ten. (Wissenschaftlisches Programm-
heft zu den Film "Geheimnisse einer
Seele").
Berlin, L.B.B., 1926, pp. 32.
SCHONHUBER, Franz X.
Das Klnoproblem im Lichte von
S chill eraniworten.
Leipzig, Haase, 1918, pp. 38.
SCHOTT, Paul
Die stroboskopischen Tauschungen
und die Kinematographie.
Wien, Braumuller, 1914, pp. 25.
SCHUEN, Heinrich
Geographischer Lehrfilm und nto~
derne Geographie. Eine methodisch-
kritischf Untersuchung.
Greifswald, Emil Hartmann, 1937^
PP- 79-
SCIENTIFIC FILM ASSOCIATION.
The Classification Appraisal and Gra-
ding of Scientific Films.
London, Scientific Film Association >
1046.
SINGER, Aamn E.
Visual Fatigue of Motion Picture.
Amusement Age Publishing Co.,,
1933
SMITH, Percy & DUR0EN, J. &
FIELD, Mary,
Cine-biology, (vedi Burden, J.).
SNELL,
On the Magic Disks in America.
in : : American Journal of Science
and Arts , New Haven, vol. 27, 1835.
SOUKHAREBSKI, L.
La cine'matographie scientifiquz et
educative.
in : Aroseff, A. : Le cinema en:
U.R.S.S. . (vedi in Cap. II, A).
Kino na sluzbe sanitarnoj oborony.
Moskva, Goskinoisdat, 1944, pp. So r
8*.
STAMPFER,
Die stroboskopischen Scheiben oder
optischen Zaiiberscheiben; der en
Theone und wlssenschafthche Ama en-
dung.
Wkn, 1833.
Jahrbucher Technischer Hochschule-
Wien, 1834, vol. 18, pp. 237.
STIGLER, R.
Uber das FHmmern der Kinemato-
graphen.
in : a Archiv f. die gesamte Physio-
logie , Bonn, Bd 123, 1908.
STILLMAN, J. D. B.
Tie Hoise in Motion; as Shown by
Instantaneous Photography.
London, Turner and Co., 1882.
TASSEL, G. & THEVENARD, P,
Le cinema scientifique francais. Pref.
di Jean Painleve.
Paris, Ed. de La Jeune Parque
1948, pp. 214, ill. 104.
THOMALLA, Curt
Der wissenschaftliche Lehrfilm in der
Geburtshilfe und Gyndkologie.
188
Berlin, Med. Filmarchiv d. Kultur- in : Sitzungberichte 482. K. Aka-
abt. d. Ufa, 1920, pp. 22. demie der Wissenschaften , WIen,
THUN, Rudolf 1853.
Dtr FUw w der Technik. VLES, Fred
Berlin, VDI Vlg., 1925, pp. 286, ill. i a cinematographie astronomique.
I0 3- Paris, pp. 60,
UCCELLO, Paolo & INNAMORATI, VOGEL, M.
- 1 e T,, , . 7 77 , Hygienisclie Filme,
sr b if yer itair u. ?r den> ^ eutsche vig - f - voikswohi -
bero) fahrt, 1926, pp. 101.
UCHATIUS, Franz Freilierr (von) WEISER, Martin
Apparat zu<r Darstellung beweglicher Medizimsche Kinematographie.
Bilder an der Wand. Dresden, Stemkopff, 1919, pp. 124
189
CAFITOLO VIII
11 Formato Ridotto e II Film d'Amatori
LE FORMAT REDUIT ET LE FILM D'AMATEURS
SUBSTANDARD AND AMATEUR FILMS
ABBOTT, Harold B.
Motion Pictures with the Baby Cine:
a handbook of 8 mm. cinematogra-
phy.
London, Amateur Photographer, 1930,
pp. 126, 8. - i a ed. : 1929, pp. 122 -
3 a ed. : 1932, pp 144.
Cine Titling Simplified. (Home tit-
ling made easy).
London, Link House, 1935, pp. 83,
I2 & .
The Complete 9,5 mm. Cinemato-
grapher
London, Iliffe & Sons, 1937, pp. 266.
ABREU, E. SOUSA
Manual do perfeito cingfilo.
Porto, Livraria Progredior, 1946,
pp 86.
ACHER, G. & BRICON, R. & VIVIE, J.
Le cinema sur formats reduits.
(vol. I).
Pans, Ed. B. P. L, 1948, pp. 500, ill.
AMATEUR CINEMA LEAGUE, Inc.
The A.C.L. Movie Book; a guide to
making better movies.
New York, Amateur Cinema League,
Inc., 1943.
BACKSTROM, Hebnr
Konsten att filma. (L'arte di fare tin
film).
Stockholm, 1931.
BAU, N.
Cine-truquages et effets speciaux.
Paris, P. Montel, 1952.
La pratique du 8 mm. De la prise des
d la projection.
Paris, P. Montel, 1952.
BEACH, Friedmch G.
Lighting Personal Movies.
New York, Amateur Cinema League,.
1938.
Films and Filters.
New York, Amateur Cinema League,.
1939-
Titling Technique.
New York, Amateur Cinema League*
BECHDOLT, John Ernest (Jack)
How to make Your own Motion Pic-
ture Plays; including 12 scenarios for
amateur actors.
New York, Greenberg Publisher*
1926, pp 130.
Motion Pictures any Boy can> make*
London, Hutchinson, 1934, pp. 96,.
ill. 80.
BENSON, F. G.
Practical Sound Conversion for the
Amateur.
Cmelux, 1943.
(BLAKESTON, Oswell)
How to script Amateur Movies*
In trod, di Paul Rotha.
London, Focal Press, 1949.
BRICON, R. & VIVIE, J. & ACHER, G.
Lc, cinema sur formats reduits.
(vol. I), (vedi Acher, J.).
BROWN, Barnard
Amateur Talking Pictures and Re-
cording
New York, Pitman Publ. Corp., 1933,
PP- 233, 8.
BRUCE, Robert C. & DOWLING, Pat
190
Camera Secrets of Hottywood. Sim-
plified photography for the home pic-
ture maker.
Hollywood, Camera Secrets Publ.
Co., 1932.
BRUNEL, Adrian
Filmcraft: the art of film produc-
tion.
London, Newnes, 1935, pp. 238, 8.
BURNFORD, Paul
Filming for Amateurs; with a fore-
word by Paul Rotha.
London, Pitman, 1940, pp. 108, ill.
CAMERON, James R.
Amateut Movie Craft.
Cameron Publishing Co., 1927.
COLLINS, Francis Arnold
The Cameraman; his Adventures in
many Fields: with practical sug-
gestions for the amateur.
New York, The Century Co , 1916,
pp. 278.
COSTA, Enrico
II cinelibro. (Passo ridotto).
Milano, Hoepli, 1943. (vedi in IV, A)
DANOT, Raoul
Le cinema a la portee des amateurs.
Bruxelles, A. Hauchamps. 1923, pp.
134, tav. 8, 16.
DAVIS, Dnys
Filming Indoors.
London, The Fountain Press, 1950.
DONALDSON, Leonard
Cinematography for Amateurs.
(Handbook for beginners in motion
photography).
London, Hazell, Watson & Co., 1917,
So
DOWLING, Pat & BRUCE, Robert C.
Camera Secrets of Hollywood, (vedi
Bruce, Robert C.).
DYKES, Robert
The Amateur Cinematographer's
Handbook on Movie Making.
London, The Fountain Press, 1931,
pp. no, ill., 8.
EASTMAN KODAK COMPANY.
Junior Scenarios for Home Movies.
Rochester (N. Y.), Eastman Kodak
Co., 1928, pp. 121.
How to make Good Movies; a non
technical handbook for those con-
sidering the ownership of an ama-
teur movie camera and for those al-
ready actually engaged in movie
making who want to improve the in-
terest and quality of their personal
film records.
Rochester (N. Y.), Eastman Kodak
Co , 1938, pp. 230.
ENGLANDER, A. David & GASKILL*
L. Arthur
Pictorial Continuity how to shoot a
movie story.
New York, Duell, Sloan and Pearce,,
1047, PP- 149-
ERNEMANN,
Kmemato graph fur Amateur -e.
Dresden, 1903.
FE, Pietro
Vademecmn del cinematograjista.
Torino, Marchisio, 1927, pp. 108.
FEDELE, Michelangelo & NAMIAS*
Rodolfo
II cinedilettante.
Milano, II Progresso Fotografico ,.
1942, pp 108.
FRERK, Friedrich Willy
Der Kinoamateur. Em Lehr- und
Nachschlagebuch fur die ganze Tech-
nik des Normal films.
Berlin, Guido Hackbeiln 1926, pp.
341 - 2 a ed. : Berlin, Photokinovlg.^
1929, pp. 493-
Der Schmallfilmer. Praktisches Ar-
beit en mit Schmal- u. Klein-Kino-
film en.
Berlin, Guido Hackbeil, 1929, pp.
223 - 2 a ed. : Berlin, Photokinvlg.,,
1931, PP- 336, ill. 105 - 3* ed. 1936,
pp. 348, ill. 63.
Cine Kodak Acht. Amateurkinema-
tographie fur jedemann.
Berlin, Photokinovlg., 1933, pp. 91 ,
ill. 48.
Gehen - Sehen - Drehen. Das Schmal-
filmhandbufch jilr Freunde der Sie-
mens Kinokamera.
Berlin, Photokinovlg , 1936, pp. 176,
ill. 88.
Modem i amateui ska kinematografia*.
(Cmematografia moderna dei dilet-
tanti).
Praha.
FREYTAG, Heinrich
Film mit 8 mm.
Halle, 1942.
GALE, Arthur
Die Herstellung Kleiner Filmgeschi-
chten. Ein Fuhrer f. d. Amateur der
auf nahme kurzer Spielfilme.
Wien, Amateur Film Club, 1930, pp_
35-
GALE, Arthur & PESSELS, King
Make Your Own Movies for Fun antt
Profit.
191
New York, Coward-McCann, 1939,
pp. 230.
GALE, Arthur Loran & HOLSLAY,
Russei C.
Making Better Movies.
New York, Amateur Cinema League,
1932, pp 205.
-GASKILL, L. Arthur & ENGLAN0ER,
A. David
Pictorial Continuity: how to shoot
a movie story, (vedi Englander, A.
David).
GEYER,
Ncu*e Wege in der Amateurkinema-
tographie.
Berlin, Selbstvlg. Geyer-Werke, 1926.
GLEASON, Norris Marion
Scenario Writing and Producing for
Amateurs.
Boston, American Photographic PubL
Co., 1929, pp. 308.
<JOLDOVSiC!J, E. M.
Proekcija uzkich kinoftlmov. (Proie-
zione di film a passo ridotto.)
Moskva, 1945.
Izgotovlenije uzkich kinofilmov. (Pro-
duzione di film a passo ridotto).
Moskva, 1945.
GROSS-TALMON, Paul
Filmrezepte fur den Hausgebrauch.
Kleine Drehbucher fur Jedermann.
Halle, Knapp, 1939, pp. 88.
HEMARDINQUER, Pierre
Le cinema d' 'amateur; piatique de la
prise de vues et de la projection.
Prefazione di Louis Lumiere.
Paris, E. Chiron, 1939, pp. 221.
HARRIS, Percy W.
Home Processing : a manual for ama-
teur cinematographers.
London, Newnes, 1935, pp. 148, 8^.
JiERRNKIND, Otto Paul
Die Schmalfihnkmematographie. Ein
Leitfadcn f. Fachlettte u. Amateure.
Wien, Hartleben, 1929, pp. 175, ill.
86.
HOBBS, Edward W.
Cinematography for Amateurs.
Cassell, 1930, pp. 152, ill. 78, 8.
BOCEVAR, M. V.
Bastelbuch fur Kinogerate.
Berlin, Photokinovlg., 1931, pp. 79,
ill- 33-
HOLSLAY, Russel C. & GALE, Ar-
thur Loran
Making Better Movies, (vedi Gale,
Arthur Loran).
1MPERY, Eric F.
The Handbook of 8 mm. Cinemato-
graphy.
Bagshawe, 1935, pp. 138, ill., 8.
INNAMORATI, Libero & UCCELLO,
Paolo
II film di 16 mm.
in : Bianco e Nero , Roma, III,
6, giugno 1939.
JAENSCH, Wolfgang
Hallo, Sie filmen noch mchtf Kurz-
gefasste Anleitwig fur Amateur-Kine-
mato graphic.
Berlin, Union Deutsche Vlgsges.,
1028, pp 135, ill. 81.
JAMBOR, D. & LACRANCO, I.
Keskeny film ABC. (L'ABC per i film
d j amatori).
Budapest, 1941.
JENKINS, Norman
How to Project Siibstandard Films.
London, Focal Press, 1949.
JEZEK, Svatopluk
Rezie amaterskeho filmu. (La regla
del film d'amatore).
Praha, Ceskoslovensk^ Filmov6 Na-
kladatelstvi, 1946, pp. 189, 8.
L>> regla del film d'amatore.
Milano, Poligono, 1947.
JOKLOVA, Anna Maria
Umelecke zaklady amate'rske'ho .
(Montaggio artistico del film d'ama-
tori).
Praha, Beaufort, pp. 47.
KAMENIK, Kara!
Amatersky fiilm od A az do Zet. (II
film d'amatori daU'A alia Z).
Praha, Kadecka, 1942, pp. 235, 8.
Praha, Ceskoslovenske Filmov^ Na-
kladatelstvi, 1947, pp. 237, 8.
Vysoka skola kinoamatera.
Praha, Ceskoslovenske Filmove Na-
kladatelstvi, 1947, pp. 108, 8.
KENDALL, G. P.
Photographic Facts and Figures for
the Amateur Cinematographer.
London, Newnes, 1937, pp. 56.
KRASZNA-KRAUSZ, Andor
Kiirblet Ein Lehrbuch des Filmsports.
Bearbeitet von C. Emmermann, G.
S^eber, K. Walter.
Halle, Knapp, 1929, pp. 192, ill. 97.
KUPLENT, F.
Der Amateur-Ton-Film.
2 a ed. : Berlin, Photokinoverlag, 1935,
pp. 107, ill. 65.
LACRANCO, L & JAMBOR, D.
Keskeny film ABC. (vedi Jambor, D.)
LANGE, Helhnutii
Wie entsteht em Film? Ein Amateur
192
plauder' -von semen Filmarbeiten.
Berlin, Vlg. Hackebeil A. G., 1930,
pp. 53, ill. 58. - 2 a ed. : Berlin, Pho-
tokinovlg., 1932, pp. 142, ill. 70.
Der Titel im Amateurfilm.
Berlin, Pho tokinovlg. 1931, pp. 71,
ill. 22. - 2 a ed * 1936, pp. 135, ill. 74.
Amateur Filme wut Erfolg. Ein roter
Faden von der Film-Idee zu-m Ap~
plans.
Berlin, Eisner Vlgsges., 1939, pp.
140, ill. 33.
Der neue Schmalfilmer.
Berlin, 1940, pp. 382.
LANGLANDS, Thomas
Popular Cinematography, a book of
the camera.
London, Foyle, 1926, pp. 105, ill., 8.
LAWRIE, J. P.
The Home Cinema.
Chapman & Hall, 1933, pp. 119, 8.
LENARD, Endre
A keskenyfilm technikaja is mui)e*$-
zete. (Tecnica e arte dei film d'ama-
tori).
Amatormozi tanfolyan. (Corso per
cine-amatori) .
Budapest, Hafa, 1943.
LOVELL-BURGESS, Marjorie A.
A Popular Account of the Develop-
ment of the Amateur Cine Movement
in Great Britain.
London, Sampson Low, Marston and
Co. ,1933.
UULLACK, Fred
Titeltechnik.
Halle, Knapp, 1933, pp. 76, ill. 75.
LUMMERZHEIM, H.
Des Agfa-Schmalfilm-Handhuch.
Harzburg, Heering, 1935, pp. :2o,
ill.
MAYORGA, Margaret
One Reel Scenarios -for Amateur Mo-
vie-Makers; a handbook for those
who wish to make their own films.
New York, Los Angeles, London,
Samuel French, 1938, pp. 231.
MC KAY, Herbert C.
Motion Picture Photography for the
Amateur.
New York, Falk Publ. Co. 1924.
Amateu* Movie Making.
New York, Falk Publ. Co., 1928.
Movie Makmg for the Beginner.
New York, Ziff-Davis, 1939.
MINTER, L. F.
How to Title Amateur Film.
London The Focal Press, pp. 126.
(MOLLOY, Edward)
Practical Photography and Amateur
Cinematography an up-to-date work
of reference on all branches of pho-
tography.
London, Newnes.
MONIER, P.
Cine-tables.
Paris, Montel, 1952.
NAMIAS, Rodolfo < FEDELE, Miche-
langelo
II cinedilettante (vedi Fedele, Mi-
chelangelo).
NAUMANN, Heinz
So fiihr ich vor.
Halle, Knapp, 1933, pp. 144, ill. 62
Schmalfim richtig vorgefiihrt.
Halle, 1942, pp. 156, ill. 68, tav. <;
OFFENHAUER, W. H. jr.
16 mm. Sound Motion Pictures.
New York, Interscience Publisher ,,
pp. 580.
OPFERMANN, H. C.
Die neue Schmal-Film-Schule.
Harzburg, Heering, 1940, pp. 255.
OTTLEY, D. Charles
The Cine-Amateur's Workshop.
London, Rontledge, 1935, pp. 1^7,
ill., 12.
Making Home Movies.
London, Newnes, 1935, pp. 296, 8.
Practical Set Structure for the Ama-
teur Cinematographer.
London, Pitman, 1935, pp. 132, 8
PESSELS, King & GALE, Arthur
Make Your own Movies for Fun
and Profit, (vedi Gale, Arthur & Pes-
sels, King).
POZSONYI, (Dr.) Gabor
A keskenyftlm vetitese. (La proiez : o-
ne dei film in 16 mm.).
Budapest, Athenaeum, 1941 - 2 a ed. :
1943
REYNER, J. H.
Cine-Photography for Amateurs.
London, Chapman and Hall, 1931,
pp. 188, 8 - 2 a ed. : 1935, pp. 192,
go . 3 a e $. . 1939, pp. 192, 8 - 4 a ed. .
1952, pp. 176, ill. 55-
ROSE, Tony
How to Direct as an Amatew.
In trod, di Roy Boulting.
London, The Focal Press, 1949.
Rcaliszazlone e regia del film.
Milano, Edizioni del Castello, 1952,
pp. 170, ill. 41.
ROYAL PHOTOGRAPHIC SOCIETY
OF GREAT BRITAIN.
Kinemato graph Section - Film Pro-
193
13
Auction: a guide for amateur socie-
ties.
London, Royal Photographic Society,
1947.
RUST, Ernst
Der Praktische Kinoamateur. Etne
Anleitung ztir Bedlenung wn l<mo~
Aufnahme- und Vorfiihrungsappara-
ten und zur Selbstanfertigung wn Ge-
rdten zum Entwickeln und Kopieren
Don Filtnen.
Stuttgart, Framkh, 1925, pp 164,
ill 112.
SCHULZ, Fritz
Filmschule - kurz und bilndig. Das
Ndchschlagebucfa fur jeden Kinoama-
teur.
Berlin, Photokinovlg. H. Eisner, 1938,
pp. 86, ill. 136.
SEWELL, George H.
Film-Play Production for Amateurs.
London. Pitman, 1932, pp. 195, 8.
Amateur Film-Making.
Plackie, 1938, pp. 114.
SHANNON, William J.
Movie Making made Easy: a hand-
book for the amateur movie maker.
New York, American Book Supply,
1935-
SMRZ, Karel
Amaterska kinematografie. (Cinenia-
tografia d'amatore).
Praha, Koci, 1932, pp. 72, 8.
SPOTTISWOO0E, Raymond
Film ano its Technique.
London, Faber & Faber, 1952.
STRASSER, Alex
Kind und Kegel DOT der Kamera.
Halle, Knapp, 1953, pp. 136, ill. So.
Filmentwurf, Filmregie, Filmschnitt.
Gesetze und Beiespiele.
Halle, Knapp, 1933, pp. 160 - 1937;
pp. 168.
Amateur Films; planning, directing
and cutting. Trad, di P. C. Smet-
hurst.
London, Link House Publ., 1936, pp.
158.
Amateurs Movies and How to make
Them.
New York, The Studio Publ., 1937,
Ideas for Short Films: simple
scripts for amateurs. Trad, di P. C.
Smethurst.
London, Link House Publ., 1937^
pp. 80.
STUELER, Alexander
Fllmen leicht gemacht.
Stuttgart, Frankh, 1931, pp. 99^
ill. 82.
Filmen mit Cme-Kodak-Acht.
Halle, Knapp, 1933, pp. 137-
THIELMANN, Ewald
Amateur-Kinematographie.
Leipzig, Hachmeister und Thai., 1925
pp. 77, ill. 56.
TUTTLE, Harris B.
Colour Movies for the Beginner.
New York, Ziff-Davis, 1941.
UCCELLO, Paolo & INNAMORATI*
Libe.ro
II film di 16 mm. (v-edi Innamora-
ti, Libero).
UMBEHR, Heiaz
Der Schmal-Film tont.
Halle, Knapp, 1938, pp. 100, ill. 22.
VAIN, G.
Vademecum del cinedilettante.
Miiano, Edizioni del Castello, 1952,,
pp. 226 ill. So.
VIEHWEG, R.
A mateur-Tonfilm-Anlage . A nleitw, >
zvm Selbstbau d. dazu wotuvendigen
Aufnahme- u. Vorfuhrungsapparate.
Leipzig, Beyer, 1934, pp, 40, ilk
20
VIV1E, J. ACHER, G. & BRICON, R.
Le cinema sur formats redtiit**
(vol. I) (vedi Acher, G.).
WAIN, G.
How to Film as an Amateur.
London, The Focal Press, 1949
WHEELER, Owen
Amateur Cinematography.
London, Pitman, 1929, pp. 136, 8.
WILKLER, Friedrich Wilhelm
Amateur photographle. Eine prakti-
sche und allgemeinverstdnliche Em-
fuhrung in das Wesen der Amateur
Kinotechnik.
Berlin-Charlottenburg, \uskniifts-
stelle und Vermittlungsstelle lur
A.raateure, 1925, pp. 2.
194
CAPITOLO IX
Documentazione - Antologie
1: Documentazione.
a) Documentazione Varia: rapporti, statistiche, pubblicazioni commemorative
o reclaims tiche, ecc.
b) Annuari, Yearbooks, raccolte di indirizzi, pubblicazioni annuali contenenti
elenchi di persone, enti, Industrie, ecc.
c) Filmografie, elenchi e catalog hi di film.
d) Bibliografie, elenchi e cataloghi di KbrL
e) Album e raccolte di fotografie da film.
/) Dizionan dei termini cmematografici e filmlexikon.
In tale capitolo non sono naturalmente riportate tutte le pubblicazioni che
rispondono ai requisiti indicati qui sopra. In particolar modo per quanto si rife-
risce alia lettera a) sono state raccolte solo le pubblicazioni degne di destar
qnalche interesse. Per quanto riguarda la lettera b), delle pubblicazioni periodi-
che che molti editori pubblicano annualmente abbiamo citato, conoscendo 1'irre-
golarita e la facilita con cui tali annuari cambiano in pochi anni veste, autori
ed editori, solamente quelli che abbiamo potuto toccare con mano e sui quali
avevamo dati sicuri. Percid si vedranno citate dello stesso annuario annate tra
loro distanti, e saltata qualche annata intermedia, Abbiamo preferito conservare
tali lacune, piuttosto che dare per pubblicati dei volumi la cui esistenza, anche
se probabilissima, non abbiamo potuto constatare di persona.
DOCUMENTATION - ANTHOLOGIES
I : Documentation.
a) Documentation variee: rapports, statistiques, publications commemorati-
ves et publicitaires, etc.
b) Annuaires de divers types.
c) Filmographies, catalogues et listes de films.
d) Bibliographies, catalogues et listes de livres.
e) Albums et collections de photographies de films.
/) Dictionnaire des termes cinematographiques e Filmlexikon-Encyclop6die$~
Dans ce chapitre n'a pu etre receuilli le large et pesant ensemble de toutes
les publications repondant aux subdivisions indiquees pins avant. A la lettre a)
sont uniquement citees les publications pouvant susciter un large interet; & la
lettre b), des publications que de nombreux editeurs impriment annuellement*
connaissant 1'irregularite des parutions autant que la facilit6 avec laquelle tels
volumes changent d'autettr, d'editeur, de modes de presentation, nous avons seu-
lement cites ceux que nous avons pas avoir par les mains et sur lesquels nous
posse" dkras des details surs. C'est pourquoi a propos de tels annuaires on pourra
constater parfois des solutions de continuity entre les ann^es. Nous avons pr^fereV
ces lacunes plutdt que d'indiquer comme publics des volumes dont 1'existencet
encore que tres probable n*a pu ^tre constat^e directement par nous.
195
DOCUMENTATION - ANTHOLOGIES
I: Documentation.
a) Miscellaneous documentation . reports, statistics, publications for comme-
morative or advertising purposes, etc.
6) Yearbooks, collections of addresses, yearly publications containing lists of
persons, corporations, industries, etc.
c) Fiimographies, lists and catalogues of film.
e) Albums and collections of photos from film,
/) Dictionaries of cinematographic terms and film-lexicons.
Of course not all the publications complying with the above requirements
are included in this chapter ; of those coming under letter a) only the ones likely
to arouse some interest are given. With regard to letter 6), knowing the ir-
regularity and ease with which many yearbooks change their appearance, as
well as their authors and publishers, in the space of a few years, we have men-
tioned only those of the periodical publications placed yearly on the market by
sc many publishers, which we were able to touch with our own hands or con-
cerning which we had reliable information. For this reason several years will
be seen to have been skipped in mentioning certain yearbooks We have prefer-
red to risk not mentioning some numbers rather than state that volumes whose
existence, although highly probable, we were not able to ascertain personally
were published.
A) - DOCUMENTAZIONE VARIA
BIENNALE DI VENEZIA. Mostra In-
temazioxiaie d* Arte Cinemafografica.
Venezia 1950.
A cura della Direzione,
Contiene scritti di Ponti, Gromo,
Verdone, Koselka, Bergmann, J)en-
<id, Pradella, Carancini, Road.
Vcnti anni di cinema a Venezia.
A cura della Direzione.
Roma, Ateneo, 1952, pp. 698, ill. 336
Haccolta di scritti diretta da Anto-
nio Petrucci, compilata da Maurice
jBerne, Giovanni Calendoli, Ga^tano
Carancini, Sheila Orlandi, Mario
Verdone. Scritti di Andreotti, Ba-
zin, Calendoli, Carancini, Castello,
Charensol, Cosulich, D'Acre, De
Pirro, Lavagnino, Lunders, Paulon,
Ponti, Reinert, Rondi, Rotha, Ver-
done, Vincent, Weinberg, Werner,
Wollenberg. .
Ceskoslovensky Film, Bieimale 1938.
Pralia, Filmove Studio, 1938, pp.
48, 8.
Cinema a Kz&okke-le zoute, (Le)
Bruxelles, Festival Mondial du Film
et des Beaux Arts de Belgique,
^1950, pp. 77, ill. 57, 8.
Cmma Beige ou en est-tn?
Bruxelles, Comite National des Tra~
vailleurs du Film, 1949, pp. 54.
Congres International du Cinema a Bale
Cinema d'aujourd'hui.
Geneve, Trois Collines, 1945.
Czechoslovak Nationalized, Film Indu-
stry, (The)
Prague, The Czechoslovak Motion
Picture Co., 1947, pp. 63, 8
Deutschland und der Deutsche Film.
(Inter. Film-Kongress 25. 4. I. 5.
*935j Berlin). Herausgegeben von
der Reichsfilmkammer.
Berlin, Deutscher Film-Kurier, pp.
126, ill. (anche in ed. inglese e fran-
cese).
Documentary 47.
First International Festival of Do-
cumentary Films, August 31 - Sept-
ember 7, 1947.
Edinburgh, Albyn Press, 1947, pp
36-
DIRECTION GENERALE DU CI-
NEMA
Film francais 1941-42
Paris, 1942.
Factual Film, (The)
A suwey sponsored by the Darl-
ington Hall Trustees. Published on
behalf of the Arts Enquiry by Po-
litical and Economic Planning.
London, New York, Oxford Uni-
versity Press, 1947, pp. 260.
Festival Bruxelles 1947.
196
Rappoit general smvi d'articles cri-
tiques et de textes de -dives auteurs.
Bruxelles, Festival Mondiale du
Film, 1947, pp. no, ill. 115.
Festival Britskeho Filmu v Ceskoslo-
vensku.
(Festival del film britanmco in Ce-
coslovacchia).
Praha, Cefis, 1946, pp. 46, 8.
Festival Francouzskeho Filmu v Ce-
skoslovensku.
(Festival del film francese in Ceco-
slovacchia).
Praha, 1946, pp 40, 4.
Film Cechi.
I film- cechi alia VII Mostra Inter-
nazionale d'Arte Cmematografica di
Venezia, agosto 1949.
Venezia, Vagabondo Macoun, 1939
Film Cecoslovacco, (II)
Praha, Schultz, 1947, pp. 16, 4.
Film Facts 1942.
(Statistical on the motion picture
industry).
Motion Picture Producers and Di-
stributors of America, 1942.
Film Industry in six European Coun-
tries, (The)
London, Film Centre for Unesco,
Paris, 1951, pp. 156.
Film Polski.
Warsawk, Prasa, 1948, pp. 32, ill.
Film pour en f ants, (Le).
Cahiers de PExposition d'Art Cin6-
matographique de Venise 1951. pp
121, 8.
(Contiene il resoconto e i lavori del
Congresso del Film per Ragazzi -
Venezia, 16-18 agosto 1950 - e un
repertono di film per ragazzi a cu-
ra di Mario Verdone).
Film Tchecoslovaque
Redatto da J. Wenig. (Edito per
il Festival Internazionale del Cine-
ma a Cannes)
Praha, CsFN, 1946, pp. 75, 8.
Films in 19S1
A Special Publication on British
Films and Film-Makers for the
Festival of Britain.
London, Sight and Sound for the
B.F.L, 1951*
GOLDOBIN, A.
Kino na terntorii 5.5.5.R. pw
matcrialam provinziolalnoi pres^i. (II
cinema nel territono dell'U.R.S.S,
attraverso il materiale della stampa
provmciale).
Moskva, OGIZ, 1924, pp. 80.
HERRING, RoWrt
Films oj the Year 1927-28.
London, The Studio, 1928, pp. 40
JASON, Alex.
Der Film m Ziffer un& Zahlen. Die
Stattstik der Lichtspielh'dnser in
Dentschland 1895-1925.
Berlin, Deutsche Druck- und Verlags-
haus, 1925, pp. 125.
Tonfilmkinos. Verzeichnis und Sta
tistih der Tonfilmkinos in Deutsch-
land.
PP- 46.
Kimenatografiia Narodnoi Polsci.
(Redatto da Eji Bossak).
Warszawa, Filmowa Agencja Widaw-
nicza, 1952.
OBERSCHALL, Albin
Statistlka biogtafu, v republice ces-
koslovenske (Statistica dei cinemato-
grafi nella repubblica cecoslovacca).
Praha, Statni Urad Statisticky, 1931,
PP- 55. 4-
OLDRICH, Kautsky
Festival sovetskeho filmu v Cesko-
slovcnsku.. (Festival del film sovie-
tico in Cecoslovacchia) .
Praha, Sovexportfilm, 1946, pp. 31,
8.
Tagtmng der Intemationalen Filmkatti-
mr.
Berlin, 1941, pp. 69, ill. 194.
Taguung der Internationalen Filmkam-
mer.
Berlin, 1942, pp. 112.
L'Undice&kna Mostra
A cura della Direzione Internaziona-
le d'Arte Cinematografica di Vene-
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Almanack du Cinema pour 1922.
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Sommario - Sadotal: La stagione ci-
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traggi - Cattliez : I disegni animati
- Regent: I divi - Marion: GH adat-
tamenti - Mauriac: Scenari e dia-
loghi - Rostand: La mnsica al cine-
ma - Charensol : I classici del cine-
ma - Vidal : II cinema e la sua tec-
nica - Marzelle: Nascita (quasi) vera
d'nn film - Dtimoulin : II film, que-
sta mercanzia - Jeanne: La biblio-
teca delPamatore di cinema - Si-
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II 16 mm. - L'lDHEC - La cineteca
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Dizionario dei registi.
(L* Almanack du Theatre et du Ci-
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Almamach 1938 Cine-Miroir.
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American Annual of Photography.
Issued yearly since 1887.
Boston, American Photographic
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Paris, Cinemagazine - Publications
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(ARIOSTO, Egidio CALENDOLI.
Giovanni) a cura di
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Roma, Edizionj dell'Ateneo, 1952,
8
Almanacco dello spettacolo italiano
1953
Roma, Ediziom delPAteneo, 1953.
Austria Amt f. Kuinst und Wissenschaft
Kulturfilm-Almanach Kuf stein.
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BAUER, Alfred
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1947-
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Dcutscher spieljilm Almanack, 1929-
1950.
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198
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BOYER, P. & FAVEAU, P.
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CAUDA, Ernesto
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DANA, Henry Wadsworth Longfellow
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DEUTSCHE KINOTECHNISCHE GE~
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Kinotechnisches Jahrbuch.
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FAVEAU, P. & BOYER, P.
Cine Almanack Prisma. (vedi Boyer,
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Filmen Qch Samhallet ~ Social Arsbok
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Filmgoer's Annual, 1932
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FRERK, Friedrich Willy
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(GILLETT, Eric) a cura di
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Guide de Cinema Beige.
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(HARTLEY, William H.) a cura di
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(HENSELEIT)
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1930
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Hrsg. A. Brugger und K Somme-
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Herausgegeben von der Werbe-
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(MANVELL, Roger & NEILSON
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i ooo and One (The blue book of
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FELDMAN, J. & FELDMAN, H.
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HARDY, Forsyth
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1946-47 a pictot-'al suivey of the
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HARRINGTON, Curtis
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Material for Visual Education : a
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films, and museum materials with
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Daily Mail School Aids Department f
1947-
(HARTLEY, William H.) a cura
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204
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HAVELKA, Jiri
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IQ35-
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PAIMANN'S FILMLISTEN.
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Budapest, Reformbureau fur Sani-
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Mai eel Carne.
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(RENOIR)
L'oeuvre de Jean Renoir.
itt ; Cine-Club , Paris, I, 6, apri-
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Films & voir... ou a ne pas voir.
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Paris, Centrale Catholique du Ci-
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ROTHA, Paul
Appendix of Documentary Directors
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Ausg. 5. u. 6. 116 S. u. 160 S. -
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SCIENTIFIC FILM ASSOCIATION.
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Ccmplete Catalog of Genuine and
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Gaston Melies, General Manager,
Paris New-York, Georges Mehes,
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(STROHEIM)
Etich von Stroheim, (bioftlmogra-
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(TRUBY, Jeffrey) a cura di
Daily Mail Film Award Annual : Bri-
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Winchester Publications, 1947.
206
UNESCO
Child Welfare Films. An Internatio-
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Paris, Unesco.
(URBAN, Charles)
Catalog of Bioscope and Warwick
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London, The Warwick Trading Co.,
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Catalog of the Bioscope and Ur-
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London, The Charles Urban Trading
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Fllmografia. (Catalogo del document
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Catalogo di film d'arte.
JJoma CIDALC, 1950.
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VICTOR ANIMATOGRAPH CORPO-
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Davenport (Iowa), Victor Animato-
graph Corp.,
(VITTORINI, Ghuto)
Film Index di Mario Camenni.
in : Cinema n.s., Milano, V, 79^
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Alessandro Blasetti. (vedi in Cap.
II, C).
VREELAND, Frank
F(remost Films of 1938. (a year-
book of the american screen).
New York, Pitman, 1939, pp. ,4%
ill
WALD, Jerry & MACAULAY, R.
The Best Pictures 1939-40 and the
Year Book of Motion Pictures in
America.
N. W Dood Mead, 1940.
WEINBERG, H. G.
An Index to Creative Work of P f ich
von Stroheim. (vedi in Cap. II, L).
An Index to Creative Work of Fntz
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Two Pioneers: Robert Flaherty,.
Hans Richter. (vedi in Cap. II, B)
WOOTTEN, W. P.
An Index to Creative Work of John
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YOUNG MEN'S CHRISTIAN ASSO-
CIATION, NATIONAL COUNCIL*
MOTION PICTURE BUREAU.
Selected Motion Pictures 16 mm. 35
mm. Silent and Sound igi^-date.
"New York, The Bureau, I9i3-date
D) BIBLIOGRAFIE E CATALOGHI DI LIBRI
ACADEMY OF MOTION PICTURE
ARTS AND SCIENCES
Check-list of Material in Academy
Library.
Hollywood, 25 giugno 1936.
ACKERKNECHT, Erwin
Verzeichnis deutscher Fachschriften
uber Lichtspielwesen.
I-erlin, Bildwart, 1924. pp. 54.
AMERICAN ASSOCIATION OF UNI-
VERSITY WOMEN. SPECIAL
COMMITTEE ON MOTION PIC-
TORE
Suggested References Material for
Motion Picture.
A.A.U.W. Program Planning, bull. 4,
maggio 1940.
AMERICAN LIBRARY ASSOCIA-
TION
The Motion Picture: A Selected
Booklist
Ihe A.L.A. and Warner Bros Pictu-
res Inc., 1946.
ARISTARCO, Guido
I'ibliografia ess,enziale sul cinema
come arte.
in : Ferrania , Milano, 8, 1949
Una bibliografta sul rapporti tret
cinema e arti figurative.
in : Bianco e Nero , XI, 8-9, ago-
sto - settembre 1950,
BADEN, Anne, L.
Motion Pictures in United States
207
foreign Countries - a selected
Lst of recent writings.
Washington, The Library of Con-
gress, Division of Bibliography, di-
et mbre 1940.
BARBARO, Umberto
Bibliograjie del cinema.
in Cinema , Roma, V, 86, gen-
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Bibliografia del cinema
in Bianco e Nero , IV, i, 2, 3,
4, 5, 6, 9, 10, 1940.
JBARRY, Iris <fe CONOVER, Helen &
FITZ-RICHARD, Helm
A selected booklist, published on
the occasion of the zoth anniversary
year of the sound motion picture.
American Library Association and
Warner Bros Pictures Inc.
BRANCA, Remo
Cmetnatografo educativo
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BRITISH FILM INSTITUTE
Book List. Cinematography.
Lcndon, B.F.I., sett. 1926.
A List on Cinematography compiled
by the British Film Institute.
London, B.F I., rnarzo 1938. II ed. :
oltobre 1938.
British Film Institute Publications.
London, B F.I , giugno 1946.
Library Catalogue.
London, B.F I., sett 1948, pp. 68.
BONI, Albert
Bibliography Section, in Directory
ot photographic industry.
BRISTOL PUBLIC LIBRARIES
1 lie cinema.
Bristol, 1928. II ed. . 1938
CESKOSLOVENSKY FILMOVY US-
TAV. FILMOVY ARCHIV.
St'znam Knih. (Catalogo).
Brezen, 1947.
CHRISTESON, Frances Mary
Guide to the Literature of the Mo-
tion Picture. Pref. di Welford Beaton.
Los Angeles, University of South
California, 1958, pp. 76
l*e Crajpouillot.
Numero special Nov. 1932
Bibliographic dc l j ait cinematogra-
phique.
Paris Corti, 1932.
COISSAC, G. M.
\ssaf de bibliographic du cinemato-
graphs.
Paris
CORDES, Hans
Das deutsche Films chr If turn im 2.
Haltyahr 1938.
Berlin, L.B.B, 1939 pp. 119.
DANA, Henry Wadsworth Longfellow
Handbook on Soviet Drama: list of
theaties, plays, opetas, 'ballets f films
and books and articles about them.
New York, The American Russian
Institute for Cultural Relations with
the Soviet Union, 1918. pp. 158.
Drama Book Shop. Nw York City.
Literature on Cinema. (Catalogue).
Dulan and Company.
ftook* on Photography and Cinema-
tography.
London, 1934.
Film Index. A Bibliography, (vedi Leo-
nard, Harold)
FITZ-RICHARD, Helen & BARRY,
his CONOVER, Helen
A Selected Booklist, (vedi Barry,
Ins)
GERSHANEK, Sinai
A Motion Picture Bibliography.
Chicago 1916.
GOLDSCHMIDT and Co.
Early Books on Photography. The
Beginnings of Cinematography.
London, 1939.
GOTHAM Book Mart's.
Film File. Catalogue of Film Books
Primjivera 1938.
HARTWELL, Wayne M.
7 oward a Film Esthetics. A selected
reading list of serious motion pic-
cure criticism.
Ann Arbos, Michigan, 1939.
LAVIES, Hans Wilhelm ^ TRAUB,
Hans
Das deutsche Filmschnftum. (vedi
Ttaub, Hans).
JACKSON-WRIGLEY, M. & LEY-
LAND, Eric.
The Cinema Historical, technical
ana bibliographical A survey for li-
l>armns and students.
Lcndon, Grafton, 1939.
JACOBS, Lewis
Bibliography, in Rise of American
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JEWSIEWICKI, Wladiskw
Material^ do dziejow film w Polsce.
fvedi in Cap. IX, C).
(LEONARD, Harald) a cura di
Film Index. A Bibliography. Vol. I :
1 he film as art.
U S Work Projects Administration,
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208
New York, Museum of Modern Art
Film Library and Wilson Co., 1041.
pp. 723, ill.
LEYDA, Jay
Film Literature, 1945.
in : Hollywood Quarterly , vol I.
Have you any Books about the Mo-
ii : & Publishers' Weekly , 132, 18
ittt. 1937-
LEYLAND, Eric & JACKSON-WRIG-
LEY, M.
'1 he Cinema, (vedi Jackson-Wrigley
M.).
LEWIN, William
B hat shall we read about the Mo-
vies ?
Newark, Educational and recreatio-
nal guides, 1937, pp. 22.
LO DUCA, Joseph MaHe
Elements pour une blbliotheque in-
Zcrnationale du cinema.
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3 - 4 - 5 - 6, die. 1946, gennaio,
febbraio, primavera 1947.
MANVELL, Roger
Film : a Reader's Guide.
London, Cambridge University Press
for the National Book League, 1947.
MC DONALD, Gerald Doan
Educational Motion Pictures and Li-
btanes.
Chicago, American Library Associa-
tion, 1942.
MASURE, Jean
Repertoire bibliographique sur le ti-
nt ma,
Bruxelles, Lebegue, 1926. pp. 16
MUSEUM OF MODERN ART
One Hundred Basic Books on the
Motion Picture, Selected by the Mu-
seum of Modern Art, Film Library.
New York, 1939.
NICOLL, Allardyce
List of Books, in: Nicoll : Film and
1 Jieatre.
New York, Crowell, pp. 58
POTTINGER, M, C.
The Literature of the Film.
in Library Association Record ,
38, giugno 1936, London.
PRATT Library
Motion Picture Arts. A reading guide
to the cinema.
Baltimore, Pratt, 1938.
ROSENHEIMER, Arthur
A Survey of Film periodicals. I : The
i'mted States and England.
in * <t Hollywood Quarterly j>, vol. II,
4, luglio 1947.
TRAUB, Hans & LAVIES, Hans Wtl-
nelm
Das deutsche Films chriftutn. Eine
Bibliographie der Bucher und Zeit-
schriften ubet das Filmwesen.
Leipzig Hiersemann, 1940. pp. 247.
TURNEY, HaroW
Film Guide to Books for Films of
1939-40 f
in : c Film Guide , voL III, n. n.
U,S. FILM SERVICE
Bioliography of Books on Motion
Picture.
Washington, marzo 1940.
VERDONE, Mario
La Utter ature cin&matogmphique en
Italic.
;n : a Revue du cine" ma , 13, 194$.
Letteratura cinematografica in Rus-
sia.
in : Libera Arte , 15-16, Roma, 15
ott. 1948.
Lttte'atura cinematografica in Gran
Brttagna.
in : * Bianco e Nero , IX, 6, I94S.
Letteratura cinematografica in Ger-
ntania.
in : Cinema , 4, 1948.
WEAVER, Gilbert G.
A Bibliography of Motion Pictures
for Vocational and Technical Schools.
New York, Hamilton.
WERNER, Gosta
Forteckning over Lunds Studenters
Filmstudios Blbliotek.
n. i, febbraio 1935.
209
14
E) - ALBUM E RACCOLTE 01 FOTOGRAFIE DA FILM
Album Anniversajre du Cinema Fran-
g&is.
Nancy, Association Lorraine du Ci-
nema 1945.
Album de Farrebique . Textes et dia-
logues de Georges Rouquier.
Pans Fortuny, 1947, pp. 103, 4-
Album du Cinema.
Lyon Ed. Filmagazine, 1943-45-
Album Ukrainskogovo Kino
IZiev Vufku, 1928, pp. 51, ill.
BARUCH, Dorothy Walter
tt'alt Disney's Pitiocchto. (Adapted
i*f>m Collodi). Told by Dorothy Wal-
ter Baruch, llustrated by the Walt
Iisney Studio.
Boston; D. C. Heath, 1940, pp. 9>
ill.
(Bilderbucb)
Das Grosse Bilderbuch des Films.
' etlm.
BUCHER, E. & KINDT, A.
Fiimfotos wie noch nie.
Giessen, Kindt & Bucher, 1929, PP-
256, ill. 1200.
Contiene scritti di * Asta Nielsen,
Greta Garbo, C. Chaplin, E. Jan-
nings, Pudovkin, B. Keaton, C.
Veidt, ecc.
BUZZI, Aldo
"La Kermesse Eroica" di Jacques
Feyder.
Mitano, Editoriale Domus, 1945, pp.
126, ill. no, 8.
"Ridolini e la collana della suoce-
ra" e "Ridolini esploratore" di Lar-
ry Semon.
Milano, Editoriale Domus, 1945, pp.
126, ill. 116, 8.
"Sette anni di guai" di Max Linder.
Milano, Editoriale Domus, 1945, pp.
130, ill 119, 8.
CARRICK, Bradey Gerry
Meet... the Common People. (Pho-
tograph? from Documentary Aids).
v 39-42.
London, The Studio, 1942.
CARRICK, Edward
Art and Design in the British Film:
Pictorial Directory of British Art
Directors and their Works.
London, Dennis Dobson, 1948.
COCTEAU, Jean
l/aigle a deux tetes; album du film.
Paris, Editions Cine* ma tographiques
et Artistiques, 1948, pp. 52.
(DISNEY, Walt)
Mickey Mouse Movie Stones. (Story-
and illustrations by staff of Walt
Disney Studio).
Philadelphia, David McKay Co.,
1931, PP- J 9o, ill-
Philadelphia, David McKay, I934>
pp. 196, ill. (book 2).
fr'ho's afraid of the Big Bad Wolff
Three Little Pigs. (Story and illu-
strations by staff of Walt Disney Stu-
dio).
Philadelphia, David McKay, 1933,
pp. 31* in -
The Tortoise and the Hare. (Story
and illustrations by staff of W. D.
Studio).
Philadelphia, David McKay, 1935,
pp. 48, ill-
Elmer Elephant. (Story and illustra-
tions by stafi of Walt Disney Stu-
dio).
Philadelphia, David McKay, 1936,
pp. 46, ill.
Hiawatha. (Story and illustrations by-
staff of Walt Disney Studio).
Philadelphia, David McKay, 1937*.
pp 19, ill.
The Country Cousin. (Story and il-
lustrations by staff of W. D. Studio).
Philadelphia, David McKay, 1937,
pp. 19, ill.
Wait Disney's Annual.
Racine (Wisconsin), Whitman PubL
Co., 1937, pp. 144, ill.
Snow White and the Seven Dwarfs.
The Story of Walt Disney's, (based'
on the Walt Disney motion picture -
by the staff of the Walt Disney Stu-
dios)
Chicago Albert Whitman, 1938, pp..
-So, ill.
WM Disney's: The Ugly Duckling^
(Adapted from Hans Christian An--
dctsen).
Philadelphia, Lippiccott, 1939, pp. 36,,
ill.
Walt Disney's Version of "Pinoc-
chfo" - based on the famous story
by Collodi.
New York, Grosset & Dunlop, 1939^
pp. 48, ill.
Walt Disney's Version of "Pinoc-
New York, Random House, 1939, pp
70, il 1 .
210
Fcfdmand the Bull.
Kacme, (Wisconsin), Whitman Publ.
Co., 1939 pp. 32, ill.
GUERRASIO, Guido
"La passione di Gio'vanna d'Arco"
di Carl Theodor Dreyer.
Milano, Editonale Domus, 1945, pp.
139, ill. 119, &r
HOELLRIEGEL, Am.
Ji oily uood-Bilderbuch.
VVien, 1927.
KADAR, Jan
iVa troskach -vyrasta zvuot.
Filmova Orenka, Sv. 4.
KEEIL, J.
Charlie Chaplin' s Comic Capers, (by
anangement with Essanay Co.).
Chicago, M. A. Donohue & Co., 1917,
pp. 34, ill.
KINDT, A. & BUCHER, E.
Ftlmfotos w^e woch nie. (vedj
Bucher, E ).
LATTUADA, Bianca
II milione di Ren6 Clair.
Miiano, Editonale Domus, 1945,
pp. 139, ill. 121, 8.
LINDTBERG, Leopold
Posledni prilezitost. ( La derniere
chance ).
Filmova Okenka, Sv. i, pp. 54, ill. 46.
REED, Langford
The Chronicles of Charlie Chaplin.
(based on the Essanaj* Chaplin pho-
toplays)
London, Cassel & Co., 1917, pp.
120, ill.
SFERDUTI NEL BUIO
(album)
Roma, Edizioni dell'Arte, 191...
TIME, Inc., New York.
Four Hours a Year, (a picture-
book story of Time Inc.'s third
major publishing venture The
March of Time).
IX ew York, Time, Inc., 1936, pp,
69, ill.
Varuj
Filmova Okenka, Sv. 6, 1947.
VAVRA, Otakar
Nvzbedny bakatlar. (II baccellier-e
malizioso) .
Filmova, Orenka, Sv. 2.
VEDRES, Nicole
Images du cinema francais.
Paris, Edition du Chene, 1945,
pp. 149, 40.
VIAZZI, Gkuco
Alba tragica di Marcel Carn6.
Milano, Editoriale Domus, 1945, pp.
138, ill. 120, 8.
c il Bandito della Casbah di Jiulien
Dwivier
Milano, Editoriale Domus, 1945, pp.
137, ill. 120, 8.
F) DIZIONAR1 E FILMLEXIKON
ALVEY, Gleen H. jr.
Dlzionario dei termini cinematogra-
fid italiano-inglese tinglish-itakan.
Koma, Editrice Mediterranea, 1952,
pp 190, 80.
ARNAU, Frank
Universal Film-Lexicon.
}<erlin, Universal Film-Lexicon,
1932, pp. 300.
(2 volumi con testo in tedesco, in-
glese e francese).
BECCE, Giuseppe & ERDMANN, Hans
Altgememes Handbuch der Film-
Musik
Berlin, Schlesinger, 1927.
BRAUNSTEIN, A.
Dictionnaire des termes cinemato-
gra phiques francais, allemand an-
glais.
Paris, La Cinematographic Fran-
paise,, 1937, pp. 29.
CASTIGLIONE, Henrik & SZEKE-
LY, S.
Filmlexicon.
Budapest, (Edizione degli autori) ?
1940.
CAUDA, Ernesto
Dlzionario del cinematografa. Vter-
sprachenwoterbuch der Kinemato-
graphie (Deutsch, engl., franz. itaL)
Citta di Castello, Stab. Tip. Leo-
nardo da Vinci, 1936, pp. 467, ill.
400.
Comparative Dictionary of the Mo-
tion Picture (German, English,
French, Italian).
New York, G. E. Stechert & Co.,
211
DAY, Wilfred E. L.
Illustrated Catalogue of the Will
Day Historical Collection of Cine-
matograph and Moving Pictme
Equipment.
London, St. Clements Press, 1930,
pp. 56, ill.
ERDMANN, Hans & EECCE, Giu-
seppe
Allgemeines Handbuch der Film-
Musik. (vedi Becce, Giuseppe).
GREGORY, Adam (comp.)
Demson's Descriptive Music Book
for Plays, Festivals, Pageants, and
Moving Pictures.
Chicago, Denison and Co., 1923, pp
112.
GUERTLER, Frantisek
Fotograficky a filmovy slouniceh
anghko-cesky a cesko-anglicky. (Di-
zionario cinematografico e fotogra-
fico ceco-inglese.
Praha, Ceskoslovenske filmove na-
kladetelstvi, 1948.
LAKE, M. Lester & SEREDY, Julius
S. & ROBERTS J,
Motion Picture Music Guide to the
Carl Fischer Modern Orchestra Ca-
talog. (Indicating all the themes
and motives siiitable for motion pic-
tures, and showing their practical
application to the screen).
Compiled by Julius S. Seredy, in
collaboration with Charles J. Ro-
berts and M. Lester Lake.
New York, Carl Fischer, 1922, pp.
40.
MATOUSEK, Fr.
Rusky ve filmu. (Vocabolario cine-
matografico russo-c&co) .
Praha, Ceskoslovensk6 Filmove Na-
kladatelstvi, 1946, pp. 132, 8.
MENDEL, Georg Vida & UMBEHR,
Heinz
Fachworterbuch des Films. Hrsg.
von Internationalen Istitut far Lehr-
filmwesen, Rom.
Berlin, Lichtbildbiihne, 1934, pp.
246.
MUEHSAM, Kurt & JACOBSON
Lexicon des Films.
Berlin, 1926.
FALUZZI, Reno
Dizionario del cinema-.
Pans, 1929.
(PASINETTI, Framceco) a cwra di
Filmlexikon. Piccola enciclopedia ci~
nematografica.
Milano, Filmeuropa, 1948.
RAPAPORT, G.
Film-Sterne-Lexicon.
Wien, Iris-Knnstverlag, 1927.
REINERT, Charles
Kleines Ftlmlexicon. Kunst, Tech-
nik, Biographic, Schrlfttum.
Einsiedeln-Ziinch, Benziger Verlag,
1946.
ROBERTS, Charles J. & LAKE, M.
Lester & SEREDY, Julius S.
Motion Picture Music Guide to the
Karl Fisher Modern Orchestra Cata-
log, (vedi Lake, M. Lester).
SANTEN, (van) J. J. M.
Amelux fototolk * Viertalig, Verkla-
rend Woordenboek DOOT fotografie
en Cinematografie. (Dizionario tec-
nico : ingles e-olandese, franoese-
olandese e tedesco-olandese) .
Bloemendaal, Focus, N. V.. 1948.
SEREDY, Julius S.
Carl Fischer's analytical orchestra
guide; a practical handbook for the
profession.
New York, Carl Fischer, 1929, pp.
244-
SEREDY, Julius S. & ROBERTS,
Charles J. & LAKE, M. Lester
Motion Picture Music Guide to the
Carl Fischer Modern Orchestra Ca-
talog, fvedi Lake, M. Lester).
SZEKELY, S. & CASTIGLIONE,
Henrik
Filmlexikon. (vedi Castiglione, Hen-
rik).
UCCELLO, Paolo
Dizionario della tecnica cinemato-
grafica e della fotografia.
Roma, Cinespettacolo, 1950
UMBEHR, Heiaz & MENDEL, Georg
Vida
Fachwortenbuch des Films, (vedi
Mendel, Georg Vida)
Winchester's Screen Encyclopaedia.
edited by Maud Miller.
1947* ill.
212
II ANTOLOGIE E MISCELLANIE
Sotto questa mdicazione figurano libri che raccolgono scrltti su un solo o sn
piu argomenti gia pubblicati altrove, e degni per la loro importanza di vemr
riprodotti a distanza di tempo. Tuttavia in alcune di queste raccolte figurano
anche lavori originali. Seguendo tale criterio abbiamo citato m questo para-
grafo molte pubblicazioni che sono solo parzialmente raccolte di scritti ormai
classici, e che sono prevalentemente delle miscellanee di studi su un determi-
nato argomento.
II ANTOLOGIES
Sous cette subdivision figurent les livres qni receuillent des ecnts sur tin ou
plusieurs sujets, ecrits deja publics mais dignes selon k compilateur d'etre re-
produits pour servir de temoignage ou eclairer un probleme, une e"poque etc. II
convient de signaler que dans certains de ees ouvrages figurent parfois des textes
originaux. Selon ce cntere nous avons cite dans ce paragraphs de nombreuses
publications qu ne sont que partiellement des recenils de textes desormais clas-
siques ou qui sont plus specialement des ensembles d'etudes sur un sujet
determine.
II ANTHOLOGIES AND MISCELLANEA
Under this heading will be found books containing collected writings on one
or more subjects already published elsewhere and worthy, owing to their impor-
tance, of being reprinted after some time has passed. However some original
works may also be found in these collections. Following this principle we have
mentioned in this section many publications of only partly collected writings
which are classics by now that are mainly miscellanea of studies on a given
subject.
(ARISTARCO, Gwido) a cura di
II color e nel film,
Sequenze , Parma, I, i, settembre
1949, PP- 45-
Contiene scritti di Sadoul, Alberi-
ni, Spottiswoode, Barbaro, Campas-
si, Pasinetti, Verdone, Quasimodo,
G. C. Castello, Viazzi, von Stro-
heim, Antonioni, Montesanti, Arn-
heim, Balazs, Alvaro, Araoux, ecc.
II cinema italicmo del dopoguerra*
Sequenze , Parma, I, 4, dicem-
bre I949> pp. 45*
Contiene scritti di: Aristarco, Viaz-
zi, Mida, Sadoul, Granich, Ghelli,
Di Giammatteo, Terzi, Campassi, Au-
riol, Meccoli, Renzi, Turconi, ecc.
ARISTARCO, Giuda
L'arte del film. Antologia storico-
critica.
Milano, Bompiani, 1950, pp. 304,
ill., tav. 56, 8.
BARBARO, Uanfcerto
II cinema e l*uomo moderno. (Inter-
viste al Congresso di Perugia - set-
tembre 1949).
Milano, Le Edizioni Sociali, 1950,
pp. 195, 16.
(BARBARQ, Umbrto & CHIARINI,
Luigl) a cura di
L'&ttore. Saggio di antologia critica.
Bianco e Nero , Roma, II, 2-3,
febbraio-marzo 1938, pp. 232 - IV,
7-3, luglio-agosto 1950, pp. 168, V,
i, gennaio 1941, pp. 142.
Contiene scritti di: Riccoboni, pu-
bus-Preville, Engel, Maudit Larive,
Morrocchesi, Talma, Shakespeare,
Hegel, Kleist, De Sanctis, Bonazzi,
Salvmi, Darwin, NovelH, Rasi, Sta-
nislawsky, Duse, Appia, Marinetti,
Bragaglia, Prampolini, Maggi, Ca-
telain, Pudovchia, Balazs, Barbaro,
Chiarini.
213
Problemi del film. Saggw di anto-
logid estetica.
Bianco Nero , Roma, III, 2,
febbraio 1939, numero speciale.
BARBARO, Umberto & CHIARINI,
Luigi
L'arte deWattore.
Roma, Bianco e Nero Editore, 1950,
pp. 8.
BECCE, Giuseppe
Kinothek. Das bedeutunste Film-
musikwerk der Gegenwart.
Berlin, Schlesinger'sche Buch- und
Musikhandlung.
Le Belle arti e il film
a cura della Direzione della Mostra
Internazionale d'Arte Cinematografi-
ca di Venezia, 1950, 8.
Contiene scritti di . Antonio Petruc-
ci, Valerio Mariani, Claudio Varese,
Domenico Purificato, Marcel PHer-
bier, Giuseppe Fiocco, Emilio La-
vagnmo, Italo Cremona, Roberto
Paolella, Luciano Emmer, Bruno
Levi, Giuseppe Raimondi, Carlo
Mollino, Mario Verdone, Guido Ari-
starco, M V.
(BERTQLUCCI, Attillo) a cura di
Letterato al cinema.
Sequenze , Parma, II, 9 maggio
1950, pp. 43, ill.
Contiene scritti di : Pirandello, D'An-
nunzio, Bontempelli, Montale, An-
gioletti, De Benedetti, Bacchelli,
Cecchi, Napolitano, Pancrazi, Sol-
dati, Flora, Zavattmi, TJngaretti,
Moravia, ecc.
(BOVAY, Georges-MicKel) a cura di
Le cinema un oeil ouuert sin le
monde.
Lousanne, Editions Clairefontaine,
*952, PP I 5^t ill- ioo, 8.
Contiene scritti di Cocteau, Mous-
sinac, Sadoul, Vedres, ecc.
CAY'N FERNANDEZ, Luis
Antologia del pensamiento cinema-
tografico.
Madrid, Industrias Graficas, 1947.
(CHIARINI, Luigi & BARBARO, Um-
berto) a cura di
L'attore. (vedi Barbaro, Umberto &
Chiarini, Luigi).
Problem! del film, (vedi Barbaro,
Umberto & Chiarini, Luigi).
CHIARINI, Luigi & BARBARO, Um-
berto
L'arte delVattore.
(vedi Barbaro, Umberto & Chiarini,
Lmgi).
Cinema e Cattolicesimo, (I.)
c Sequenze , Parma, II, 7, marzo
1950, pp. 43, ill. 8, 8.
Contiene scritti di Pio XI, Benoit-
Levy, Gedda, Boulting, Galktto,
Leprohon, Caglio, Morhon, Fabbri,
Ghelli, Verdone, Gain, ecc.
Cinema d'aujourd'hui. Congres Inter-
national du Cinema a Bale.
Geneve, Trois Collmes, 1946, pp.
260, ill.
Le Cinema des origin es a nos jours.
(Raccolta di saggi con pref, di H
Fescourt) .
Paris, Editions du Cygne, 1932, pp
366, ill., So.
Le Cinema en Tchecoslovaquie.
Prague, Filrnove Studio, 1936-1938
Vol. I. Redatto da Ivan J. Kuka-
cevic, pp. 148, 4.
Vol. II. : Redatto da Jan Kucera,
Jan Smrz, pp. 50, 8.
Vol. III. Redatto da Karel Smrz,
Jaraslov Broz, pp. 68, 8.
Le Cinema par ceux qui le font.
Textes recueillis et presents par
Denis Marion.
Paris, Fayard, 1949.
(DAVY, Charles) a cura di
Footnotes to the Film essays.
London, , New York, Lovat Dickson
& Thompson, Oxford University
Press, 1937.
Sommano- Part I. Studio Work
how a film is made. i. Direction,
by A Hitchcock. 2 Film acting, by
R Donat 3 Handling the camera,
by B Wright.
Part II. Screen material : help from
other arts 1 Subjects and stories, by
G Greene 2 Comedies and car-
toons, by A. Cavalcanti 3. Settings,
costumes, backgrounds, by J. Bet-
jeman. 4. Music on the screen, by
M. Jaubert 5. The color film, by P
Nash.
Part III Film industry problems
i. The course of realism, by J. Grier-
son. 2. British films * to-day and to-
morrow, by A. Korda. 3. The future
of screen and stage, by B. Dean. 4.
Hollywood and Britain - three thou-
sand miles apart, .by M. Kann.
Part IV. Films and the public, i
Why I go to the cinema, by E.
Bo wen. 2. Walk up, Walk up, plea-
se' by A. Cooke. 4. Censorship and
film societies, by F. Hardy. 5. The
film in education, by R. S. Lam*
214
bert, 6. Conclusion: are films worth
while?, by Ch. Davy.
(DI GIAMMATTEO, Femaldo) a cura
di
Essenza del film, (vedi in Cap. I).
Due Itistri di sonoro
Cinema , v. s., Roma, V, 108, 25
dicembre 1940, (Numero speciale de-
dicato al X anniversario del fono-
film).
Contiene scntti di : Alberini, Alex-
androf, Antonioni, Assunto, Caval-
canti, Chiarmi, De Santis, Eisen-
stein, Giani, R. Griffith, Mida, Pa-
sinetti, Puccini, Purificato, Pudov-
kin, D. Shearer, Viazzi, ecc.
(ERIOMIN, D.) a cura di
30 let so-vietskoi kinematografh. (30
anni di cinema sovietico).
Moskva, Goskinoisdat, 1950.
Contiene scritti di : Pudovkin, Er-
mer, Alexandrof, ecc.
Le Film sur 1'Art
Les Arts Plastiques , Bruxelles,
1-2, gennaio-febbraio 1949, (Nnmero
speciale).
Contiene scritti di : Paul Davay, An-
dr6 Souris, Lionello Venturi, Arthur
Knight, Gaston Diehl, ecc.
Le Film sur PArl
Les Beaux- Arts , Bruxelles, feb-
braio 1950, (Numero speciale).
FORD, Charles
Breviaire du cinema. (Un demi sie-
cle de pensee cinematographique).
Avant-propos de Marcel L'Herbier.
Paris, Jacques Melot, 1945, pp. 126.
(KEZICH, Tullio) a cura di
II Western e maggiorenne.
Trieste, Zigiotti, 1952.
Contiene scritti di : Zezich, Renzi,
Granich, Aristarco, Cosulich, Castel-
lo, Chiattone, Autry, Wayne, Del
Buono, Ranieri, Leydi, Jacobson.
LAMBRICHS, Georges
Le plus belles images du cinema.
Pref. di Jacques Kupissonoff.
Bruxelles, Edition du Chene, 1946.
pp. 75, ill. 40, 4.
(LAPIERRE, Marcel) a cura di
Anthologie du cinema. Retrospective
par le textes de I' art muet qui de-
-vint parlant. Temoignages rassem-
bles et presentes par M. Lapierre.
Paris, La Nouvelle Edition, 1946,
pp. 364, 8.
L'HERBIER, Marcel
Intelligence du cinematographe.
Paris, Editions Correa, 1946, pp. 515,
8.
(MALERBA, Luigi) a cura di
I registi parlano del film
Sequenze , Parma, I, 2, ottobre
1949,^ pp. 45, ill. 4, *<>.
Contiene scritti di : Pasmetti, Ma-
lerba, Visconti, De Baroncelh, Ei-
senstem, Dulac, Ruttmann, Capra,
Pabst, Pudovkin, Carne, Dreyer, Ro-
tha, Ivens, Lubitsch, Genina, Pa-
gnol Clair, Chiarim, Stroheim, Grier-
son, Disney, Oliver, Chaplin, ecc.
(MARCHI, Antonio) a cura di
Nascita del cinema.
Sequenze , Parma, II, 8 aprile
i960, pp. 45, ill- 8, 8.
Contiene scritti di : Marchi, Bazin>
Auriol, Aristarco, Arnoux, Paolella,
Sadoul, Epstein, Lo Duca, Rotha,
Jeanne, Caglio, Charensol, Lumie-
re, ecc.
(MONTESANTI, Fausto) a cura di
II divismo.
Sequenze , Parma, II, 10-11, giu-
gno-luglio 1950, pp. 70, ill. 23, 8.
Contiene scritti di: Montesanti,
Schulberg, Paolella, Guerrasio, Ari-
tarco, Verdone, Balazs, Barbaro,
Chiarini, Pudovkin, Dos Passos,
Mauriac, Maggi, May, Renzi, Ven-
tunni, Vidor, Grierson, Capra, M.
Pickford, Pola Negri, Cecchi, Gold-
wyn, Malerba, ecc.
La Miasica nel film
a cura della Direzione della Mostra
Internazionale d'Arte Cinematografi-
ca di Venezia, 1950, pp. 156, 8.
Contiene scritti di : Enzo Masetti,
Adone Zecchi, Alessandro Cicogni-
ni, Francesco Lavagnino, Roman
Vlad, G. F. Malipiero, Ildebrando
Pizzetti, Goffredo Petrassi, Achille
Longo, Alessandro Blasetti, S. A.
Luciani, Glauco, Viazzi, Daniele Am-
fitheatrof, ecc.
ROYAL PHOTOGRAPHIC SOCIETY
OF GREAT BRITAIN
Kinematograph Section - Women
Talking . a symposium on the
part played oy women technicians
in film production.
London, Royal, Photographic So-
ciety, 1957.
(STAUFFACHER, Frank) a cura di
Art in Cinema; a symposium on
*"flie avant-garde film. Intro, by Hen-
ri Miller.
215
S. Francisco, S. Francisco Museum
of Art, 1947, pp. 104, ill. 16.
Contiene scritti di' G L. McCann
Morley, Hans Richter, L. Bunuel,
E. Pommer, Maya Deren, J. e J.
Whitney, O. Fischmger, Elie Faure,
Man Ray, G. Leite, P. Velguth.
Vapmsii Masteanstva v Soviefcskom Ki-
noisskustve.
(Contributi di maestri dell'arte cine-
matografica sovietica).
Sommario : Editonale - Gherasimov :
Sulla professione del regista. - Ci.iu-
reli: Scoperta della forma cinemato-
grafica. - Pudovkin : II lavoro del-
1'attore nel cinema e il sistema di
Stanislavski. - Raisman: II legista
e 1'attore (note di un regista). - Ro-
scial : Problem.! di lavoro n-ei film
biografici. - Borisov: Sulla scena e
sullo schermo.
Moskva, Goskmoisdat, 1952.
(VERDONE, Mario) a cura di
La moda e il costume nel film.
a cura della* Direzione della Mostra
Internazionale d'Arte Cinematogra-
fica di Venezia, 1950, pp. 123, ill
8.
Contiene scritti di : Antonio Petruc-
ci, Jean Georges Auriol, Mario Ver-
done, Jacques Manuel, Nicole Ve-
dres, Vittorio Nino Novarese, Clau-
de Autant-Lara, Irene Brin, Cecil IT
Doyle, Christian Dior, Lo Duca, Lot-
te H. Eisner, Laurence Olivier, An-
drian, Maurice Leloir, Antonio Chiat-
tone, Adolphe Menjou, Gino C. Sen-
sani, Aldo Palazzeschi, Raffaele
Franchi, Giorgio Gigli, Michelan-
gelo Antonioni, M. V.
II jtlm comico.
Sequenze , Parma, II, 5-6, gen-
naio-febbraio 1950, pp. 79, ill. 34, 8.
Contiene scritti di: Verdone, Vin-
cent, Paolella, Knight, Rognoni,
Pudovkin, Harold Lloyd, Florey,
Aristarco, Viazzi, Aunol, Montesan-
ti, Krakauer, Fayard, ecc.
II cinema educative.
K Sequenze , Parma, II, 13-14, gen-
naio-giugno 1951, pp. 58, ill. 16, 8.
Contiene scritti di Verdone, Grier-
son, Wolf, Brooker, Gonella, Tarro-
ni, Painleve, Fulchignoni, Shear ,
man, Maddison, I^anoux, Franca-
stel, Ragghianti, Boutonnier, ecc.
Gli mtellettuali e il cinema.
Roma, Bianco e Nero Editore, 1951,.
pp. 257, 8.
Contiene scritti di : Cecchi, Chelster-
ton, Croce, Leger, Pirandello, Gen-
tile, Flora, ecc.
(VIAZZI, Glaitco) a ciara di
II cinema sovietico^(I).
Sequenze , Parma, I, 3, noveni-
bre 1949, pp. 45, ill. 8, 8.
Contiene scritti di : Viazzi, Bar-
baro, Dulac, Chiarini, Eisensteui >
Aristarco, Alexandrof, Cerniovski,
Granich, Terzi, Gide, Arnoux, Cha-
rensol, Sadoul, Gherassimov, Pudov-
kin, ecc.
II cinema soijietico (II).
Sequenza , Parma, II, 12, agosto
1950, pp. 46, ill. 8, 8.
Contiene scritti di Viazzi, De La
Roche, Ostrezov, Zguridi, lurienev,
Castello, Jacchia, Vittorini, Balazs,
Blasetti, Lattuada, Visconti, Geni-
na, Malerba, ecc.
216
CAPITOLO X
Soggetti e Sceneggiature
I soggetti e le sceneggiature qui riportati sono classificati in due parti . nella
prima sono citati i volumi che raccolgono piu soggetti o sceneggiature d'uno o
divers i autori e sono ordmati per nome d'autore o sotto il titolo del libro; nelia
seconda invece i soggetti o sceneggiature sono ordmati secondo il titolo del film.
SUJETS ET SCENARIOS
Les sujets et scenarios repris ci apres sont classes en deux sections . dans la
premiere, figurent les volumes qui lassemblent plusieurs sujets ou scenarios d'un
ou divers auteurs. Il sont classes par nom d'auteur ou selon le titre dn livre;,
dans la seconde, au contraire, sujets et scenarios sont classes selon le titre du film.
SUBJECTS AND SCREEN-PLAYS
The subjects and screen-plays mentioned here are classified m two parts :
the first section contains volumes collecting several subjects or screen-plays by
one or different authors, which are classified either under the names of the authors
or under the titles of the books , in the second section the subjects and screen-
plays are arranged according to the title of the film.
(ANGEL, Ernst) a cura di
Das Drehbuch. Eine Sammlung OMS-
gewahlter Filmmanii$kripte. I: Carl
Mayer : Sylvester.
Potsdam, Kiepenheuer, 1924. pp. 96
AUTORI VARI
Isbranie szenarii sovietskovo kino.
(Raccolta di scenari del cinema so-
vietico) cc
Moskva, Goskinoisdat, 1949.
Vol. I - 1949, pp. 500 - contiene 1
soggetti dei seguenti film : Con-
tropiano (Diel, Ermler, Jutkevic)
- L'ultima mascherata (Ciaureli)
- Ciapaev (G. S. Vassiliev) -
Trilogia di Massimo (Kosinzev,
Trauberg) - Noi di Kronstadt
(Bolshinzov, Ermler) - <c La tessera
di partito (Katerina Vmograzkaia)
- I sette coraggiosi (Gherman,
Gherasimov) - II deputato del Bal-
tico (Diel, Zharki, Rakmanovy,
Keifits) - <cl tredici (Prut, Room).
Vol. II - 1949, pp. 500 - contiene i
soggetti dei seguenti film : Lenin
nelPottobre (Room) - Lenin nel
1918 (Room) - <c La grande auro-
ra (Ciaureli, Zagarelli) - L'uomo
col fucile (Pogodin) - L* ultima
notte (Gabrilovic, Raisman) - Le
giornate di Volociaievsk (S. G.
Vassiliev) - II grande cittadino &
217
{Bleiman, Bolshmzov, Ermler)
Zankenzur (Bek-Nazarov, Du-
kor).
Vol. Ill - 1949, pp 500 - contiene
i soggetti dei seguenti film : Ja-
kov Sverdlov (Levin, Pavlenko) -
Valeni Cikalov (Baidukov, Tara-
zov, Cirskov) - I trattoristi iPo-
mashikov) - Shots (Dovzhenko)
~ II membro del governo (Kate-
rlna Vinogradskaia) - II maestro
(Gherasimov) - Le amiche del
fronte (Mikhailovic, Rosenberg) -
c Antonio Jvanovic si arrabbia (E.
Petrovic, Munblit).
CHENAL, Pierre
Drames sur celluloid.
Paris, 1929.
IAURE,U, M.
Poslednm mat* karad - Arsen -
c Vehkoye sarevo . (Scenan).
Moskva, Goskinoisdat, 1939, pp. 175.
-DELLUC, Louis
Dtames de cinema.
Paris, Monde Nouveau, 1923, pp 131,
8 - 3me edition.
Contiene 4 La fte espagnole -
<c Le silence - <c Fievre - c La
femme de nulle part
Filmo'ua dramata. (Drain es de ci-
ne" ma).
Praha, Kuncir, 1925, pp. 77, 8.
(GASSNER, John & NICHOLS, Dud-
ley) a cura di
Twenty Best Film Plays,
New York, Crown Publ., 1943, pj>-
iii2, ill.
Best Film Plays of 1943-1944.
New York, Crown Publ. 1945, pp.
694, ill.
Best Film Plays of 1945
New York, Crown Publ., 1946, pp.
648, ill. 40.
Contiene * A second annual, by J.
Gassner - e i seguenti soenar' :
* The Machine from the God (D.
Nichols) - cc The Lost Week-End
(Charles Brackett, Billy Wilder) -
Spellbound (Ben Hecht) - Dou-
ble Indemnity (Billy Wilder, Ray-
mond Chandler) - <c A Tree grows
in Brooklyn (Tess Slesinger, Frank
Davies) - None But the Lovely
Heart (Clifford Odets) - <c The Sou-
therner (B. Buler) - Ernie Pyle's
Story of G. I. Joe (Leopold Atlas,
Guy Endore, Philip Stevenson) -
Thirty Seconds over Tokyo (Dai-
ton Trumbo) - Over Twenty-one
(Sidney Buchanan) - A Medal for
Benny (Frank Butler).
GUSEV, Viktor
Svinarka i pastoch. V sest caso-v
uecera posle vojny.
Moskva, Goskinoisdat, 1945, pp. 183,
8.
Kniga Szenariev
Moskva, Kinofotoisdat, 1935.
Contiene le sceneggiature di : Bro-
nenosez Potemkin (S. M. Eisen-
stein) - Ma't (V. Pudovkm) -
Arsenal (Dovzhenko).
(KELLER, ZECH, PICK, LANGER,
12. a.) a cura di
Das Kmobuch. Kinodramen von...
Leipzig, Kurt Wolff, 1914, pp. 162
LANTHROP, William Addison
Little Stories from the Screen.
New York, Britton Publ. Co , 1917
pp 324, ill.
(MANVELL, Roger) a cura di
Three British Screen Plays.
London, Methuen and Co., 1951.
Contiene gli scenari : Brief Encoun-
ter - Odd Man Out - Scott of
the Anctartic .
MAYORGA, Margaret
One-reel Scenarios for amateur mo-
vie-makers. A handbook for those
who wish to make their own films.
New York, Frenk, 1938
MAY, Renato
Frammenti di sceneggiature italiane
del 1920- Venerdi di passione, II ti-
ranno, Marcella, La casa di vetro,
I ire sentimentali.
in <c Bianco e Nero , IV, 3, mar-
zo 1940.
(NICHOLS, Dudley & GASSNER,
Jolin) a cura di
Twenty Best Film Plays, (vedi Gass-
ner, John).
Best Film Plays of 1943-1944. (vedi
Gassner, John).
Best Film Plays of 1945. (vedi Gas-
ner, John)
NOBLE, Lorraine
Four-Star Scripts; actual shooting
scripts and how they are written.
(vedi in Cap. Ill, B)
O' DELL, Scott
Representative Photoplays; analy-
zed. Modern authorship; a set of
texts prepared as part of the Palmer
Course and service in creative writing.
Hollywood, Palmer Institute of Au-
thorship, 1924, pp. 495.
218
PATTERSON, F. T.
Motion Picture Continuites : A
Kiss for Cinderella y> \ The Scarlet
Letter ; The Last Command .
With intro. and notes.
New York, Columbia University
Press, 1929.
London, Oxford University Press.
1930, pp. 255, 8
(PICK, LANGER, KELLER, ZECH
u. a.) a cura di
Das Kinobiich. Kinodramen von...
(vedi Keller).
POMESCIKOV, Evgenij
Bogataja nevesta. Traktoristy.
Moskva, Goskinoisdat, 1945, pp. 183,
8.
SKOLSKY, Sidney
Best Motion Pictures of 1937. The
stories of the 12 best pictures with
excerpts from original scenarios,
talking of how they are made and in-
cluding a wealth of film-lore.
New York, 1938.
SPIVEY, Thomas Sawyer
Photoplays.
New York, Scenario Supply Corp.,
1924, pp. 376.
VLCEK, Vladimir
Defile sovetsk^ho film (Panorama
del cinema sovietico).
Phaha, Ceskoslovensky Filmvy Na-
kladatelstvo, 1947, pp. 139, ill. 24, 8.
YALE UNIVERSITY PRESS FILM
SERVICE.
The Chronicles of American Photo-
plays: a series of vivid and inspi-
ring motion pictures reproducing
with historical accuracy striking
events in ~the annuals of the United
States from the Voyage of Colum-
bus to Appomatox.
New Haven (Connecticut), Planned
by the Yale University Press, 1924,
pp. 64, ill.
YUKOV, E.
The Book Scenarios.
Moscow, Kinofotoisdat, 1935, pp.
380, ill.
ZARCHI, N.
Scenarii.
Moskva, Iskusstvo, 1937, pp. 207, 8.
(ZECH, PICK, LANGER, KELLER,
u. a.) a cura di
Das Kinobu^ch. Kinodramen von...
(vedi Keller).
ADMIRAL NACHIMOV
Lukovskij, Igor : (sceneggiatura).
Moskva, Goskinoisdat, 1944, pp. 109,
16.
The ADVENTURES OF CHICO
Woodard, Stacy & Woodard, Ho-
race The adventures of Chico, a
small Mexican boy who has many
animal friends (The pictures and
story by Stacy and Horace Woo-
dard).
New York, Stackpole, 1938, pp. 63,
ill.
L'AGE D'OR
Bunnel, Luis & Dali, Salvador
(scenario) .
Paris, Jose Corti, 1931, pp. 36.
in Nadeau, Maurice : c: Histoire du
Surreafasme , Paris, Editions du
Seuil, 1948, vol. II
L'AIGLE A DEUX TETES
Cocteau, Jean : The Eagle has two
Heads, adapted by Ronald Duncan.
London, Vision Press, 1948.
ALEKSANDR NEVSKII
Eisenstein, S. M. : (sceneggiatura)
Moscva, 1939. pp. 60
ALFA TAU
(frammento di sceneggiatura).
in: cc Bianco e Nero , Roma, VI, 9,
settembre 1942.
ALTRI TEMPI
Blasetti, Alessandro; Biancoli, Bran-
cati, Carancini, Cecchi D'Amico,
Contmenza, Dragosei, Rondi, Mari-
nucci, Mazzetti, Mercati, Vasile,
Zucca (sceneggiatura di due epi-
sodi La Morsa e II processo
di Frine )
in : Bianco e Nero, XIII, 5-6, mag-
gio-giugno 1952.
Les AMANTS DE VERONE
Prevert, Jacques & Cayatte, Andr6 :
(sceneggiatura) .
Paris, La Nouvelle Edition, 1949,
pp. 256.
AMERICA IN ITS MAKING
Martin, Edgar Allen ; (a scenario) .
Los Angeles, Times Mirron Printing
and Bindins Horse, 1910, pp. 15.
Les ANGES DU PECHE
Giraudoux, Jean : Le film de Betha-
nie. (scenario di Les Anges du
pecheO.
Paris, Gallimard, 1944, pp. 190,
ill. 6.
A NOUS LA LIBERTE
(copione di montaggio a cura di Re-
nato May).
219
in : Bianco e Nero , Roma, III,
10, ottobre 1939.
L'ASSASSINAT DU DUC DE GUISE
Lavedan, Henri* (scenario).
in : La Revue du Cinema , Pa-
ris, 15, 1948.
L'ASSO BELLA MANICA
Wilder, Billy . (sceneggiatura)
Roma, Edizioni Filmcritica, 1953.
pp. 99
BABAOUO
Dali, Salvador Babaouo ; scenario
inedit, precede d'un Abrege d'une
histoire critique du cinema .
Paris, Editions des Cahiers Li-
bres , 1932, pp. 58.
La BELLA ADDORMENTATA
(frammento di sceneggiatura).
in : Bianco e Nero , Roma, VI,
9, settembre 1942.
Usellini, Gughelmo La bella addor-
mentata. (soggetto).
in Bianco e Nero , Roma, III, 3,
marzo 1939.
La BELLE MEUNIERE
Pagnol, Marcel: (scenario).
Paris, Editions Self, 1948, pp. 190,
ill.
BENGASI
(frammento di sceneggiatura).
in : Bianco e Nero , Roma, VI, 9,
settembre 1942.
BENIA KRIK
Babel, Isaac : (a film-novel transla-
tion by : Ivor Montagu and S. S.
Nolbandov).
London, Collet's, 1935, pp. 96
BLANCHE FURY
Lindop, Audrey Erskine & Wi-
Ihelm, W. : Blanche Fury, based on
the novel by Joseph Shearing.
London, Cineguild, 1946.
BRONENOSEZ POTEMK1N
Eisenstein, S. M. : (scenario).
in: Kniga Szenariev , Moskva,
Kinofotoisdat, 1935
Eisenstein, S. M. : (frammento di
sceneggiatura).
in : Vlcek : Defile so-uetskeho fit-
mu. (vedi in Cap. II, A).
BROTHERHOOD OF MAN
Lardner, Ring jr. & Rapf, Maurice
& Rubley, John & Eastman, Phil:
Brotherhood of Man : A Script.
(scenario).
in : Hollywood Quarterly , Ber-
keley and Los Angeles, luglio 1946.
CACCIA TRAGICA
Antonioni, Michelangelo & Barba-
ro, Umberto & De Sanctis, Giusep-
pe & Lizzani, Carlo & Zavattini,
Cesare * (frammento di sceneggia-
tura).
in Bianco e Nero , Roma, otto-
bre 1947.
CAIN
Poirier, Lon : Fragment du decou-
page de Cain .
in: La Revue du Cinema , Par is ,.
17, dicembre 1930.
IL CAMMINO VERSO LA VITA
Ekk, Nikolai & Stolper : (frammen-
to di sceneggiatura).
in: Vlcek: DefiU sovetsaciio fil-
mu . (vedi in Cap II, A).
IL CAPPELLO A TRE PUNTE
Luciani, A. S. & Perilli, Ivo Sr
Patti, Ercole * (sceneggiatura) in :
Luciani : L' 'Antiteatro . (vedi in Cap.
Ill, A)
CHKALOV
Baiduokv, G., & Tarasev, D. & Chir-
skov, B: (scenario).
Moskva, Goskinoisdat, 1941, pp. 136.
Un CHIEN ANDALOU
Bunuel, Luis & Dali, Salvador :
(scenario) .
in : La Revue du Cine 1 ma , Paris ^
5, 15 novembre 1929.
in : This Quarter , Paris, -vol. 5^
i, settembre 1932.
Bunuel, Luis & Dali, Salvador;
(scenario), a cura di P. Uccello.
in : Bianco e Nero , Roma, II, 10,
ottobre 1938.
CHODZA NASREDDIN
Solovjev, Leonid : (scenario) .
Moskva, Goskinoisdat, 1945, PP- I 9 I >
i6<>.
CIAPAEV
Vassiliev, G. & S. : (frammento di
sceneggiatura).
in : Vlek : Defile sovetskeho fil-
my, . (vedi in Cap. II, A).
CITIZEN KANE
Welles, Orson : (scenario) estratti.
in: La Revue du Cinemas, Pa-
ris, 3, dicembre 1946.
Welles & Mankiewicz: (brano di
sceneggiatura) .
in : c Essenza del film , a cura di
F. di Giammatteo. (vedi in Cap. I).
CITY LIGHTS
Chaplin, Charles S. : Synopsis de
City Lights .
220
in : La Revue du Cinema , Paris,
20, marzo 1931.
CONSTRUIRE UN FEU
Autant-Lara, Claude : (scenario) .
in : La Revue du Cinema , 16, r>o-
vembre 1930.
JLe CORBEAU
Chavance, Louis & Clouzot, H. G. :
(adaptation et dialogues).
Paris, La Nouvelle Edition, 1948,
pp. 224, ill. 8.
JDARO' UN MILIONE
Camermi, Mario & Patti, Ercole &
Perilh, Ivo : (frammento di sceneg-
fiatura) .
in cc Bianco e Nero , Roma, III,
7, lugho 1939-
DEPUTAT BALTIKI
Diel & Zharki & Rakmanov &
Keifits . (scenario).
Moskva, Goskinoisdat, 1946, pp. 93,
16 - 2 a ed.
DIARIO DI UN CURATO DI CAM-
PAGNA
Bresson, Robert : (sceneggiatura) a
cura di Antonio Petrucci.
Roma, Ed Filmcntica, 1953.
DOUBLE INDEMNITY
Wilder, Billy & Chandler, Ray-
mond : (sceneggiatura) .
in : Gassner, John & Nichols, Bid-
ley : Best Film Plays of 1945)).
(vedi)
DOUBLE SPEED
Woodhouse, J. Stewart : Synopsis
of Double Speed .
Los Angeles, Palmer Photoplay
Corp., 1922, pp. 26.
DU FEU S. V. P.
Aurenche, Jean : (scenario) .
in : K La Revue du Cinema , Pa-
ris, 5, novembre 1929.
ELDORADO
L'Herbier, Marcel Eldorado : me-
lodiame cmematographique.
Paris, Ed La Lampe Merveilleuse,
1921.
ENTR'ACTE
Viazzi, Glauco * (copione di mon-
taggio desunto dal film).
Milano. Poligono, 1945, pp. 68, ill.
86, 8.
ENTREE DES ARTISTES
Jeanson, Henri: (scenario). Pref. di
Louis Jouvet.
Paris, La Nouvelle Edition, 1946,
pp. 255, 8.
EPISODE
Reisch, Walter : (frammento di sce-
neggiatura) .
in Bianco e Nero , Roma, III,
7, lugho 1939.
ETTORE FIERAMOSCA
Blasetti, Alessandro & Mazzetti,
Angus to & Novarese, Vittorio Nmo
& Lodovici, Cesare Vico (scena-
rio)
in . Bianco e Nero , Roma, III,
4, aprile 1939*
FAUST
Hauptmann, Gerhart : Worte zu
Faust . Sine deu\tsche Volkssage.
Eln Ufa Film. Mit Emfuhrung von
Hans Kys-er,
Berlin, Ufa, 1929, pp. 39.
The FIVE TOWNS
Greenpark Productions (scenario)
London, Film Producers* Guild.
FORGOTTEN VILLAGE
Harvan Kline, Rosa & Hacken-
schmidt, Alexander . The Forgotten
Village : life in a mexican village.
Story by John Steinbeck.
New York, Vicking Press, 1941.
I! FU MATTIA PASCAL
Chenal, Pierre & Salacrou, Armand
& Stengel, Christian : (frammento
di sceneggiatura).
in : Bianco e Nero , Roma, III, 7,
luglio 1939.
GELOSIA
Amidei, Sergio & Ghenzi, Sandro:
(sceneggiatura).
in : Bianco e Nero , Roma, VII,
3-3, febbraio-marzo, 1943.
GENERAL ARMII
Cirskov, B : (scenario).
Moskva, Goskinoisdat, 1945, pp. 166,
16.
A GHOST GOES WEST
Margrave, Seton Successful Film
Writing; (contiene il copione di
montaggio di <sc A Ghost goes
West ).
London, Methuen, 1936 .
La GIOVINEZZA DI MASSIMO
Kosinzev & Trauberg : (frammen-
to di sceneggiatura).
in : Vlek : Defile souetskeho fil-
mu . (vedi in Cap. II, A).
GIVE US THIS DAY
Barzman, Ben : (frammento di sce-
neggiatura).
in : Cahiers du Cinema , Paris,
Tome I, i, aprile 1951.
221
GLINKA
Arnstam, L. : (scenario).
Moskva, Goskinoisdat, 1944, pp. 150,
16.
La GRANDE ILLUSION
Spaak, Charles & Renoir, Jean:
(sceneggiatura) .
Paris, La Nouvelle Editions, 1949,
pp. 185, ill. 8.
The GREAT LIFE
Nilin, Paul . The Great Life : script
of film.
Moscow, Goskinoisdat, 1945.
HAIL THE WOMAN
Sullivan, C. Gardner: Synopsis and
Continuity of Hail the Woman .
Hollywood, Palmer Photoplay Corp.,
1921, pp. 125.
HALLELUJAH!
(fragment du coupage), a cura di
Arnaud, J. Michel.
in : <t La Revue du Cinema , Paris,
10, maggio 1930.
HAMLET
Hamlet. The Film and the Play, (a
cura di Alan Dent, con bozzetti di
Roger Furse).
London, World Film Publications,
1948.
Shakespeare, William & Olivier,
Laurence : Hamlet : The Play and
the Screenplay, (frammento di sce-
neggiatura).
in : cc Hollywood Quarterly , Ber-
keley and Los Angeles, Spring 1948.
Di* HANSEN
Richter, Hans : Die Hansen Ein
Dramatis cher Film in 5 Akten.
Berlin, H. Richter, 1920, pp. 63.
HER MYSTERIOUS PROTECTOR;
Werner, Anna : Her Mysterious
Protector; a dramatic photoplay in
125 scenes*
New York, 1923, pp. 43.
L'HISTOIRE D'UN PIERROT
Negroni, Baldassare : (copione di
montaggio a cura di Giuseppe Ra-
daelli).
in : <c Bianco e Nero , Roma, I i,
gennaio 1937.
HISTORIA DE UNA NOCHE
Saslavsky, Luis : (scenario) .
Buenos Ayres, Editorial Lautaro,
1946.
HISTORY REPEATS ITSELF
Dunning, Philip Hart & Wolheim,
Louis : History repeats Itself
(or Even in Rome; an original
screen story).
New York, The International Press,
1930, pp. 14,
The HOUSE OF 92 STREET
London, Hollywood Publications,,
1946.
IN JENEN TAGEN
(Drehbuch von Helmut Kautner).
Flensburg, Christian Wolff-Verlag,
1947.
IT'S LOVE I'M AFTER (Awentura
a mazzanotte} .
Robinson, Casey: (frammento di
sceneggiatura).
in : <r Bianco e Nero , Roma, III, 7,.
luglio 1939.
IVAN NIKULIN, RUSSKO MATROS
Solovjev, Leonid: (scenario).
Moskva, Goskinoisdat, 1945, PP- IO 3*
16.
Moskva, Pravda, 1945, PP* *43 8.
IVAN THE TERRIBLE
Eisenstein, B. M, : Ivan the Terri-
ble : a film scenario. 7 parts.
in : a Life and Letters , London,.
novembre e dicembre 1945 - gennaio,
febbraio, marzo, aprile, maggio, giu-
gno e luglio 1946.
JEANNE D'ARC
Aurenche, Jean & Bost, Pierre :
(extraits d'un scenario originale).
in: cc La Revue du Cinema , Pans,
8.
JEW SUSS
Farnum, Dorothy & Rawlison, Ar-
thur : (scenario a cura di Ernest
Betts).
London, Methuen, 1935, pp. 174.
KAMENNY KVITEK (II fiore di
pietra).
Bazov, P. : (scenario).
Praha, 1936.
D*r KAMPF UM DIE ERDE
Akksandrov, G & Eisenstein, S.
M. : Der Kampf urn die Erde. (Die
Generallinie).
Berlin, Schmidt, 1929, pp. 79.
La KERMESSE HEROIQUE
Spaak, Charles : (soggetto) .
Spaak, Charles & Zimmer, Ber-
nard . (sceneggiatura) .
in : a Bianco e Nero *, Roma, I, 2,
febbraio 1937.
KLJATVA
Pavlenko, P. & Ciaureli, M. : .(sce-
nario) .
Moskva, Goskinoisdat, 1946, pp. 109,
8
KRESTIANIE
Bolscintzov, M. & Portnov, V. &
222
Ermler, F. : Krestianie (Contadini).
(scenario) .
Moska, Kinofotoisdat, 1935, pp. 82
La LIGNE GENERALE
Emsenstem, S. M. & Aleksandrov,
G. V. : La llgne generate (ou\ la lut-
te pour la terre). (scenario),
in : La Revue du Cinema , Paris,
14, settembre 1930.
The LITTLE CHIMNEY SWEEP
The Little Chimney Sweep; after
the silhouette film by Lotte Reini-
ger. (a cura di White, Eric Walter),
Bristol White & White, 1936, pp. 30.
LIMELIGHT
Chaplin, Charles Spencer (fram-
menti di dialogo sotto il titolo Sto~
na di un clown).
in: <c Cinema Nuovo , II, 3, 15 gen-
naio 1953.
Chaplm, Ch. S. . (sceneggiatara)
desunta da Fausto MontesantL
in : Bianco e Nero , XIV, 4-5,
aprile-maggio 1953.
(sceneggiatura) a cura di G Calen-
doli.
Roma, Ed. Filmcritica, 1953.
LIVING BUDDHAS
Living Buddhas; a phantasy of the
Snow Sand.
Berlin, Paul Wegener Film Co.,
1933, pp. 36, ill.
The LOST WEEKEND
Wilder, Billy & Brackett, Charles:
(sceneggiatura) .
in : Gassner, John & Nichols, Dud-
ley : Best Fil'm Plays of 1945 .
(vedi).
The LOVE EXPERT
Emerson, John & Loos, Anita: The
Love Expert (First National 1920).
in : Emerson, John & Loos, Anita :
How to write Photoplays . (vedi
in Cap. IV, B).
The MAGNIFICENT AMBERSONS
Welles, Orson: (scenario, estratti).
in : La Revue du Cinema , Paris,
3, 1946.
The MAN UNDER COVER
Eytinge, Louis Victor : Synopsis of
<nThe Man Under Cover .
Los Angeles, Palmer Photoplay
Corp., 1922, pp. 19.
The MAN WHO COULD WORK MI-
RACLES
Wells, Herbert George : The Man
who Could work Miracles (a film
by H. G. Wells based on the story
entitled The man who could work
miracles ).
New York, Macmillan, 1936, pp. 109.
L* MASSACRE DES INNOCENTS
Spaak, Charles & Gremillon, Jean:
Le massacre des innocents. (Extra-it
d j un scenario original).
in: La Revue du Cinema , Paris,,
16.
MA'T (La madre)
Pudovkin, V. & Zarhki : (trammen-
ti di sceneggiatura) .
in: Vlcek: Defile sovetskeho fil-
muy>. (vedi in Cap. II, A),
e sceneggiatura in Kniga Szenariev*
(vedi).
A MATTER OF LIFE AND DEATH
Powell, Michael & Pressburger >
Emenc: (the book of the film).
London, World Film Publication
1946
METROPOLIS
Harbou, Thea (von) : (scenario tra-
dotto dal tedesco da Marie Dolejsi).
Praga, Sveceny, 1927, pp. 238, 8.
The MIGHTY BARNUM
Fowler, Gene & Meredyth, Bess :
The Mighty Barnum (a screen\ play).
New York, Covici - Fnede, 1934,
pp. 240, ill.
La MIRACLE
Fellini, Fedenco : (frammenlo di
soggetto).
in . La Revue du Cinema , Paris >
14, giugno 1948.
MR. EMMANUEL
Golding, L. & Wellesley, G. : <e Mr.
Emmanuel . Screenplay. Revised
shooting script.
Two Cities.
MURDER IN THE CATHEDRAL
Elyiot, T. S. & Hollering, George:
The Film of Murder in the Cathe-
dral.
London, Faber and Faber, 1952, ill*
MY S URALA
Pomescikov, E. & Rozkov, N. : (sce-
nario) .
Moskva, Goskmoisdat, 1943, pp. 90,,
i6.
The MYSTERY OF HAPPINESS
Reed, Me Clellan : (a scenario) .
New York, 1922, pp. 35, ill.
NAPOLEON
Gance, Abel- Napoleon epopee cine-
graphique en 5 epoques. lire epo-
que : Bonaparte.
Paris, Plon, 1927, pp. 408, ill. 17, 8.
223
Gance, Abel : Exit ait du scenario de
Napoleon.
in : Le Rouge et le Noir , Paris,
luglio 1928.
Bie NIBELUNGEN
Harbon, Tbea (von) Das Niebe-
lungenbuch.
Munchen, Drei-Masken, 1923, pp.
270, ill. 24.
Harbou, Thea (von) Die Nibelun-
gen. Em Deutsches Heldenlied i)
Siegfried 2) Kriemhilds Rache.
Berlin, Ufa, 1924, pp, 24, tav 10.
NOI DI SCRONSTADT
Visnevsky : (fraram-ento di sceneg-
giatura) .
in : Vlek . Defile souetskeno fil-
mu , (vedi in Cap. II, A)
The NORTH POLE
Ette, Henry The North Pole a ta-
le of the Artie Sea. A 100% tone
and speaking picture.
Faroe Isles, Eette, 1932.
Les NOUVEAUX MESSIEURS
(frammenti di sceneggiatura) .
m : Jacques Peyder ou le cinema
concret , a cura di Rene Micha -
Parte III. (vedi in Cap. II, B).
OLD AND NEW
Eisenstein, S. M. & Aleksandrov,
G. : (scenario) .
in : Jacobs, L. : Film Writing
Forms , New York, Gotham Book
Mart, 1934.
1/OR DES MERS
Epstein, Jean ; (version Utter air e du
film homonyme).
Paris, Ed. Valois, 1932, pp. 252, 16.
ORFHEE
Cocteau, Jean: (scenario).
Paris, Andre Bonne, 1950.
The OVERLANDERS
The Book of the Film, directed by
Harry Watt.
London, World Film Publications,
1946.
PAISA'
Fellini, Federico & Rossellmi, Ro-
berto : (frammento di sceneggiatura) .
in : c Bianco e Nero, Roma, ottobre
1947.
PANI NA MESICI (Doama sulk Luna)
Harbou, Thea (von) : (scenario).
Praha, 1930.
ies PARENTS TERRIBLES
Cocteau, Jean : (scenario)
Supplement de Le Monde Illu-
stre , Paris, 37, 1948, pp. 32, ill. 5.
The PERILS OF PAULINE
Goddard, Charles L. : (a motion pic-
tuie novel).
New York, Hearst's International
Library, 1915, pp. 316, ill.
PETR I (Pietro I)
Petrov, B. M (sceneggiatura).
Leningrad, 1937-38. pp. 70 e pp. 100.
Le PLAISIR
Natanson, Jacques & Ophuls, Max:
(frammento di sceneggiatura).
in . Sight and Sound , London,
vol. 22, i, lugho-settembre 1952.
POVEST O RUSSKOM IZOBRETA-
TELE
Razumovskij, A. (scenario).
Moskva, Goskmoisdat, 1944, pp. 122,
16.
PRIMA COMUNIONE
Zavattini, Cesare . (soggetto).
in Cinema , Milano, u, 25, 30
ottobre 1949.
The PRIVATE LIFE OF HENRY
VIII
Biro, Lajos & Wimperis, Arthur *
(story and dialogue). Edited, with an
introdution, by Ernest Betts.
London, Methuen and Co., 1934,
pp. 108.
PROTIPLAN
Arnstam, Delja, Ermler & Jutke-
vkh: (frammento di sceneggiatura)
in : Vlcek : Defile sovetskeno fil-
mu . (vedi in Cap. II, A).
QUE VIVA MEXICO!
Aleksandrov G. V. & Eisenstein
S. M. : (synopsis of original scenario),
in: Experimental Cinema , Lon-
don, 5, 1934.
Eisenstein, S. M. : (scenario). Wirh
an introduction by Ernest Lindgren.
London, Vision Press, 1951, pp be,, 8.
The QUIET ONE
Agee, James : Commento a Donald
b'mbo tranquillo. Trad, di M. Ver-
done.
in : cc Cinema n. s., Milano, III, 40,
15 giugno 1950
The RAKE'S PROGRESS
Mannon, Warwich (scenario).
London, Hollywood Publications,
1946.
RHAPSODY IN BLUE
Macall, Martin, (scenario).
London, Hollywood Publications,
1946.
The REVOLT OF THE MACHINES
Holland, Rornain : (or Invention run
wild; a motion picture fantasy).
224
(Trans, by William A. Drake - Wood-
cuts by Frans Masereel).
Ithaca (N. Y.), The Dragon Press,
1932, pp. 57, ill.
The RIVER
Lorentz, Pare The River. A Natio-
nal Drama in Pictures and Sound.
Based on the author's brilliant mo-
iion picture.
New York, 1938.
ROMEO AND JULIET
(scenario by Jennings, Talbot) - Ro-
meo and Juliet (dir. George Cukor,
1936) } the play, the original first folio
script and the final scenario of the
film, together with articles on the
production.
Barker, 1936.
RUY BLAS
Cocteau, Jean (scenario).
Paris, Edition Paul Moritzien, 1948,
pp. 132, ill. 92.
Le SANG D'UN POETE
Cocteau, Jean (scenario). Phot de
Sacha Masour
Paris, Robert Mann, 1948, pp. 107,
8.
SANT* ANTONIO
Travers, Rex (scenario).
London, Hollywood Publications,
1946.
SAVOIR VIVRE
Dreyfus, J. P. & Hollebecque, B.
Lahy: (scenario).
in La Revue du Cinema , Pans,
16, novembre 1930
5CIOPERO
Eisenstein, S. M Dalla sceneggia-
tura di sciopero (frammento) .
in * Cinema n s., Milano, u, 10,
15 marzo 1949
SCIPIONE L'AFRICANO
Gallone, Carmine & Mariani del-
1'Anguillara & Luciani, S, A. . (sog-
getto e sceneggiatura) .
in : cc Bianco e Nero , Roma, i, 7-8,
luglio-agosto 1937.
SECRET PEOPLE
Wilhelm, Wolfgang ; Wilhelm, T. D. :
(sceneggiatura).
m : Anderson, L. : Making a film.
(vedi in Cap. II C).
SEVEN SISTERS
Greenpark Productions: (scenario).
London, Film Producers' Guild
The SEVENTH VEIL
Porlock, Kit : (scenario) .
London, Hollywood Publications,
1946.
SIEGFRIED
Fliesler, Joseph R. (ed.) : (A music-
photo drama with Wagner's immor-
tal score}.
New York, Patrick Me Nerney & Co., -
*925> PP- 18, ill.
Le SILENCE EST E>'OR
Clair, Rene (dialogues).
France Illustration, 3, maggio 1947.
Clair, Rene: Le silence est d*or- co-
medte cinematographique. Avant
propos par R. Clair. Illustrations de
Leon Barsacq.
Paris, Masques , Societe Generale
d 'Edition, 1946, pp. 172.
Clair, Rene : II silenzio e d'oro. (sce-
neggiatura desunta dal film, a cura
di Mario Verdone).
in Bianco e Nero , Roma, XII,
8-9, agosto-settembre 1951.
SILLY SYMPHONY
Silly Symphony Annual.
London, Collins, .936, pp. 96, ill.
SILLY SYMPHONY
Silly Symphony Omnibus Stories
and illustrations.
London, Lane, 1935, pp. 70, ill.
THE SINGING FOOL
Dail, Herbert * (scenario)
New York, Grosset & Dunlap, 1929,
pp 219, ill.
SIX PERSONNAGES EN QUETE
D'AUTER
Lantz, Adolph . (scenario, da Piran-
dello).
in ct Revus du Cinema , 10, mag-
gio 1930.
SNOW WHITE AND THE SEVEN
DWARFS
(Story and pictures by staff of Walt
Disney studio) .
Philadelphia, David McKay, 1937,
PP 40, ill
II SOLE SORGE ANCORA
Anstarco, Guido & De Sanctis, Giu-
seppe & Lizzani, Carlo & Vergano,
Aldo : (frammento di sceneggiatura) .
in . Bianco e Nero , Roma, otto-
bre 1947.
in. aEssenza del Film , a cura di
F. Di Giammatteo. (vedi in Cap I).
The SPANISH CAVALIER
Mathias, June : (film, story in photo-
dramatic form suggested by the play
Don Caesar de Bazan by Adolphe
D 'Emery and P. F. P. Dumonoir;
written by June Mathias).
New York, Famous Players-Lasky
Corp., 1923, pp. 96-
225
STORY OF G. L JOE
Atlas, Leopold & Endore, Guy &
Stevenson, Philip Ernie Pyle's Story
of G, L Joe.
in : Gassner, John & Nichols, Dud-
ley : Best Film Play of 1945 .
(vedi).
SUNSET BOULEVARD
Wilder, Billy (sceneggiatura desun-
ta dal film, a cura di Fernaldo Di
Giammatteo) .
in K Bianco e Nero , Roma, XII,
U-J2, novembre-dicembre 1951.
SYLVESTER
Mayer, Carl Sylvester. Em Licht-
spiel.
in- Das Diehbuch Eine Satnmlung
ausgcwahlter Filmmanusknpte , I.
Bd, a cura di Angel, Ernst, (vedi).
La SYMPHONIE PASTORALE
Aurenche, Jean & Bost, Pierre (sce-
nario) .
Paris, La Nouvelle Edition, 1948,
pp. 190, ill. 8.
SZAKANIE ZEMLJE SIB1RSKOJ
(La canzone della Terra siberiaua).
Poniescikov, E. . (scenario),
Moskva, Goskinoisdat, 1947, pp. 195,
16.
TACHIR I ZUCHRA
Spesnev, A. & Abdulla, S. : (sce-
nario).
Moskva, Goskmoisdat, 1944, pp. 62,
16.
TEMPESTE SULL'ASIA
Cancellieri, Edmondo : (con fram-
menti del copione di montaggio).
(vedi in Cap. Ill, B).
TENTH MAN
Maugham, William Somerset : (Film
version by Associated British Pic-
tures).
La TERRA TREMA
Visconti, Luchino : (sceneggiatura
desunta dal film, a cura di Fausto
Montesanti) .
in : Bianco e Nero , Roma, XII,
2-3, febbraio-marzo 1951.
THERESE RAQUIN
(frammenti di sceneggiatura).
in : Jacques Feyder ou le cinema
concret , a cura di Ren Micha -
Parte III. {vedi in Cap. II, B).
THINGS TO COME
Wells, Herbert George : (a film by
H. G. Wells; a new story based on
the material contained in Ms book,
The Shape of Things to Come ).
TOTO' IL BUONO
Zavattim, Cesare & De Curtis, An-
tonio (Toto) : (soggetto).
in * Cinema v. s , V, 102, 25 set-
tembre 1540.
UMBERTO D.
Zavattim, Cesare Umbetto D. Dal
soggetto alia sceneggiatura.
Milano-Roma, Bocca, 1953. pp 142,
ill. 12.
L'UOMO CON IL FUCILE
Yutkevich , (frammento di sceneg-
giatura).
in . Vlcek Defile sovetskeho fil-
niu (vedi in Cap. II, A).
VAMPYR
Dreyer, C. Th (copione di mon-
taggio desunto dal film da Aldo
Buzzi e Bianca Lattuada.
Milano, Pohgono, 1948, pp 185, ill.
163, S.
VARIETE
Birmski, Leo (scenario).
in Bianco e Nero , Roma, IV, 6>
giugno 1940.
VARJAGE
Grebner, Georgij . Pesn o "Vatiage".
(scenario) .
Moskva, Goskinoisdat, 1946, pp 191 >
16.
VENUS, THE FOAM - BORN
GODDESS OF BEAUTY
Marshall, Sidney John, (a scenario)*
Washington, The Author, 1925, pp. 24.
VIA DELLE CINQUE LUNE
Barbaro, Umberto & Chiarini, Luigi
& Pasinetti, Francesco (sceneggia-
tura). Prefazione di Raffaele Mastro-
stefano.
in Bianco e Nero , Roma, VI,
5-6-7, maggio-giugno-luglio 1942.
Chiarini, Luigi : Dal soggetto al
film- la sceneggiatura di "Via delle
cinque lune".
Roma, Edizioni Italiane, 1942, pp. 291.
Les VISITEURS DU SOIR
Prevert, Jacques & Laroche, Pier-
re- (scenario). Pr-ef. di Mac Orlan.
Paris, La Nouvelle Edition, 1947,
pp. 205, ill. 21.
Le VOYAGE A TRAVERS L'lMPOS-
SIBLE
Melies, Georges (scenario),
in. La Revue du Cinema , Paris,,
4, ottobre 1929.
VOSPITANIE CUVSTV
Smirnova, M. : (scenario).
Moskva, Goskinoisdat, 1947, pp. 126,.
16.
226
I VITELLONI
Fellini, Federico , Flaiano, Ennio ;
Pinelli, Tullio (soggetto).
In Cinema , n. s., 99-100, 15-31
dicembre 1952
VIVA ZAP ATA
Steinbeck, John - Kazan, Elia . sce
neggiatura). Introduzione di G. Ca-
lendoli.
Roma, Ed. Filmcritica, 1953, pp. 184
WILHELM II
Koffler, Dosio . Wilhelm IL Em Film.
Berlin, Luciferverlag, 1931, pp. 170.
WORLD OF PLENTY
Rotha, Paul & Knight, Eric (sce-
nario).
London, Nicholson and Watson, 1945.
ZEME (Terra)
Dovzenko, Alexandr (scenario)
Praha, Borecky, 1931, pp. 12, 8.
ZIZN I CVETY
Dovzenko, Alexandr (scenario)
Moskva, Goskinoisdat, 1947, pp 182,
16
ZIZN PRIRODY
(scenario) .
Moskva, Goskinoisdat, 1946, pp. 71,
227
CAPITOLO XI
JLibri non classlficatl
OUVRAGES NON CLASSIFIES
UNCLASSIFIED BOOKS
AFFICHE DE CINEMA DE 1895 4
1946, (L').
(Catalogue de ^Exposition des Des-
smateurs et Affichistes de Cinema
avec le concours de la Bibhoteque
Nationale -et de la Cinemateque
Franaise).
Paris, 1946.
Contiene. una presentazione di
Bernard Lancy - scritti di Louis
Daqum, Marcel Gentel, J. M. Mou-
nier.
AGOKAS, N. N.
Zvietnoe kino. (II cinema a colon).
Moskva, 1936.
ALEXANDER, Donald
Facts about Films.
London, Bureau of Current Affairs,
1946.
ALEXANDER, Hans
Film- und Kino-Such.
Leipzig, Olga Verlag, 1924, pp. 117
AMIGUET, Frederic-Philippe
Cinema! Cinema f
Paris, Payot, 1923, pp. 122
ANDERAU, Walter
Gcsehen durch die Kamera.
Basel, 1943.
ARROY, Jean & REYNAUD, Jean-
Charles
Attention 1 On tournef
Paris, Jules Tallandier, 1929, pp. 48
ARSCIARUNI, A. & WELTMAN, S
Pepu; o fihne. (Pepo; intorno a
film).
Moska, Kinofotoisdat, 1935, pp. 112.
ARTS COUNCIL OF GREAT BRI-
TAIN.
The Art of the Film,
London, Arts Council of Great Bri-
tain, 1945.
Plans for an Ait Centre
Lund Humphries, 1945 .
AZEVEDO, (de) Manuel
tnovimento dos cineclubes.
Lisboa, 1948.
BACH, D. Joseph
Dei Kugelmensch. Die Filmflache:
Phantasien und Gedanken.
Wien, Anzengruberverlag, 1938, pp.
125-
BACH, Rudolf
Die Fran als Schauspielerln.
Tubingen, Rainer Wunderhch Vlg.,
1937, PP- 109
BAGIER, Guido
Das Tonende Llcht
Berlin, 1943, pp. 479
BALLIER, W.
Verkannte Menschen. Em Film au$
dem Leben der Gehorlosen.
Berlin, 1932, pp. 23
BATAILLE, RoWt
Le sa^oir filmer.
Paris, Taffin-Leffort, 1944, pp. 184, 8.
BERGMAN, Hjalmar
Film.
Stockholm, 1940, pp 420.
BERNAUER, Rudolf
Filmzauber.
Munchen, 1912
London, Sampson Low, 1946.
228
BESSUNGER, B. N.
Yesmen in Celluloid.
BETHGE, E. Heinrich
Lichtbild-Abend.
Leipzig, Arnold Strauch, 1917.
BEYFUSS, Edgar
Der Film.
estratto da Die Volkshochschule k
1934, PP- 16, ill.
BIROT, Albert
Cinema 1919.
Paris, Reditions Sic, 1920, pp. 99
BOLTIANSKH, Gregori
Lenin o "kino. (Lenin nel cinema)
Moskva.
BREWSTE, Eugene
The Ten Essentials for Successsful
Pictures.
Los Angeles, 1933.
BRITTON, Eric
I know where I am Going.
London, Hollywood Publications^
1946.
BROUSIL, A. M.
Ceska hudba v cesken filmu. Vyvoi
a poslani. (Mtisica ceca nel film
ceco) .
Praha, 1940.
CAUDA, Ernesto
La cinematogiafia per tutti.
Roma, 1931.
CENDRARS, Blaise
L'A.B.C. du cinema.
Paris, Les Ecrivains Reunis, 1926,
pp. 25, 8.
CHIARINI, Luigi
Preparazione degh artisti di domani.
in : Intercine , Roma, VIII, 8,
agosto 1935.
CINEMA.
Numero speciale de L J Amour de
1'Art , Paris, 37-38-39, 1949-
COHN-WIENER, Ernst
Vom griechischen Theater zum Kino.
Munchen.
COISSAC, G. M.
Le Hmousin et I'ecran.
Paris, Cmeopse, 1938, pp. 261.
CUENCA, Fernandez
Cewantcs y el cine.
Barcelona, Manuales Lograra Yd,
Talleres Rex
DAHLGREEN, Reinhold
Kofferkino.
Halle, Knapp, 1929, pp. 34, ill.
DE CUVILLON, Max
Films muets, films parlants.
Paris, Peronnet, 1929.
DEKEUKELEIRE, Charles & WERT
Paul & ROMBAUTS Wilkelm
Le cinema contre lui-mme.
Bruxelks, Edition de la Nouvelle
Equipe, 1935, pp. 22, 8.
DEL EGIDO, Giitierrea Ernesto
Congmstemos el cine. Hacia una so-
htcion total y acertada del problems
cinematografico.
Avila, Imprenta Gloria, 1946.
DIAZ PLAJA, Guillemno
El engano de los ojos.
DI GIAMMATTEO, Fernaldo
Dal cinema alia televisione .
in Bianco e Nero , Roma, X, n f
novembre 1949.
DRAWBELL, James Wedgwood
Film Lody.
Glasgow, Collins, 1932, pp 286, 8 -
2 a ed. : 1933 - 3 a ed. : 1934 - Ch. Ed
1936.
EDER, Joseph Maria
Kmematographie.
Halle, 1928.
EISENSTEIN, S. M.
II senso della realta stonca mi ha
tradito (Lettera ai direttori della ri-
vista russa Cultura e Vita ).
in. Umanita, Roma, 16 marzo
1947; Milano, 23 marzo 1947.
ELIE, Eva
Puissance du cinema.
La Chaux-de-Fonds, Ed Nouveanx
Cahiers, 1942, pp. 224.
EMMERMANN, K. & SEEBER, G. &
KOURAD, Walter
Kutble. Bin Lehrbiich des Film-Sport.
Halle, Andor Krasna Kraus, 1929
ENDRES, F. C.
Der Film als Mittel dei militdrischen
Betichterstattung.
Miinchen, 1925
FALQUINA, Angel
La risa y la sonrisa en la pantalla.
Imprenta Fenix, 1947.
FARGUE, Leon-Paul
Lanterne magique.
Marseille, Edtions Robert, pp. 288
FINGER, Willy
Deutschkunde mid Kmodrama.
Berlin-Brltz, Richter, 1921, pp. 48.
FLAHERTY, Liam
Hollywoodsky htbitov. (Cirmtero
d'Hollywood) .
Praha, 1936.
FORTER, Adolf
Die Gestaltung des Tons im Doku-
mentarfllm Vortrag, gehalten am
229
4. September 1945 - Internationalen
Filmkongress in Basel.
Zurich, Lichtspieltheater - Verband,
1945-
FOSTER, W. T.
Vaudeville and Motion Picture Show*
a study of theaters in Portland, Otc-
gon.
Portland, (Oregon), 1914.
FOULON, O.
Die Kunst des Lichtspiels. Totem ede
gehalten uot den Elndscherung de.s
Lichtbildners Matthias Gnincr atu
22 Mai 1924.
Aachen, Verlag Die Kuppel , 1921,
PP- 39-
FRAGOSO, Fernando
Hollywood em Lisboa.
Lisboa, Vida Mundial, 1942, pp 184,
8
FULOP-MULLER, Rene
Die Phantas etna chine. Eine Saga dei
Gewinnsucht*
Berlin, Paul Zsolnay, 1931, pp. 203,
111. 51.
FURDUIEV, "V.
Kino savtra. (Cinema domani)
Movska, Moskovskii Rabochii, 1929,
pp. 271
GAVRIUSCIN, Coslantm
Sovietschie kinosculi. (Scuole sovie-
tiche per il cinema).
Moskva, 1929.
GETVALT, V.
Kinematograf. (Cmematografo) .
Moskva, 1909.
RAHIT GRAU, Jose
El cine en Gerona.
Barcelona, Graficas Fenix, 1943.
GRO, Lajos
A film utja. (La slrada del film)
Budapest, Altalanos Konyvkiado
GUERTLER, Frantisek
Film a nabor. (Cinema e reclutamen-
to [di attori]).
Praha, Ivnihovna Filmoveho Kuryru,
1944, PP- 39, 8-
GUNTHER, Walther
Stddtefilme.
Berlin, Bildwart - Verlagsgenossens-
chaft, 1925, pp 12 - 2 a ed-: Ebda,
1928, pp. 63.
GUTTMANN, Richard
Die Kinomenschett. Versuch einei
prlnzipiellen Analyse.
Wien, Anzengruberverlag, 1916, pp.
32-
HAFKER, Herin.
Do Kino und die Gebildeten Wege
zur Hebitng des Kinowesens.
Munchen, Volksvereinverlag, 1915,
PP 93-
HEINING, Heinrich
Goethe und der Film.
BadenBaden, Neues Verlag Anstalt,
1949.
HERZBERG, Max
Photoplay Studies.
Newark (N Y.), 1933
HEVESY, Ivan
A Him eletmjza. fBiografia del film).
Budapest, Hatschek es Farkas, 1943.
HEYMANN, Robert
Der Film in dei Kankatur.
Berlin, Deutsche Verlag-Ges., 1929,
PP- 151-
HILDEBRANT, Paul & LAMPE,
Felix
Das stehende und laufende Licht-
bild. Bericht tiber die Blldwoche vow,
i. bis 9. Oktober 1920. Hrsg. vom
Zentralinst. /. Etziehung und Unter-
richt.
Berlin, Vlg. d. LBB, 1921, pp. 102.
HUNTER, William
Scrutiny of Cinema.
London, Wishart, 1932, pp. 87.
ISERN, Augusta
Haz de imagenes.
Madrid, Pueyo, 1944.
Jak se stanu fiknovou hvezdou? (Co-
me si diventa stella del cinema?)
Praha, Plechaty, pp 58, 8.
JEANNOR, Fred
Le film de cinema
Paris, Etienne Chiron, 1939, pp 132
JENICEK, Vlastimil
FilmoTja svetla. (Laci del film).
Praha, Fromek, 1927, pp 34, 8.
JOHANSEN, Broby
Filmens Forbandelse, Fornedtelse og
Opstandelse. (La dannazione, la ser-
vitu e la resurrezione del film).
Aarhus, Arbejderungdommens For-
lag, 1938, pp, 32, ill., 8
JORJ>AAN, L. J.
De film en Ha&i nwgelykheden. (II
film e le sue possibilita) .
Amsterdam, De Arbeiderspers, 1935,,
pp. 72, ill., 80.
KAUFMANN, Nicholas
Filmtechnik und Kultui.
Stuttgart, Cotta, 1931, pp. 94.
230
KENWOOD, Clive
The Film Studio Murder.
World's Work, 1937, pp. 278.
KISPETER, Mikios
A gyozedelmes film. (Cinema vitto-
rioso).
Budapest, Egyetemi Nyomda.
KLABUN0E,
Akademiker fur und wider den Film.
Hamburg, Akad, Vlg. Otto Meissner,
1929.
KNUDSEN, Paul
Film Teater.
Kobenhavn, Danske Tidsskrifters
Forlag, 1937, pp 96, ill., 4.
KOHNER, Friedrich
Der Deutsche Film. Tatbestand und
Ktitik emer neuen Dichtkunst.
Wien, 1929, pp 268
KOOY, J.
Het boek van de Film (Un libro sul
film)
Utrecht, De Haag, 1937, pp. 207.
KORGER, Hans
Das lebende Bild.
Bulach-Zurich, Graf, 1940, pp. 107.
KUNSEL, Max
Wie werde ich Films chauspieler
Filmsschausplelerin f
Nurberg, 1921.
LAMPE, Felix & HILDEBRANDT,
Paul
Das stehende und laufende Licht-
bild. (vedi Hildebrandts, Paul).
LANGE, Helimutli
Filmthemen noch und noch.
Wien-Leipzig, 1941, pp. 248, ill. 274.
LANGE, Konrad
Die Kunst des Kmematograpfaen.
Korrespondenz des Durerbundes. 1912
LANGER, Resi
Kinotypen vor vnd hinter der Film-
kulissen. Zwolf Kapitel aus der Kin-
deistube dcs Films.
Hannover, Zweemannverlag, 1919,
pp. 76.
LARSON, Cedric
The Domestic Motion Picture Work
of the Office of Wwr Information.
in ((Hollywood Quarterly)), Berke-
ley and Los Angeles, vol. Ill, 4,
1949-
LEE, Norman
A Film is Born.
London, Jordan, 1945.
LEIRENS, Jean
Vues sur le cinema.
Bruxelles, Les Editions du Frene,
*947, PP- 93, #>.
LEPROHON, Pierre
Le cinema et la montagne.
Pans, J. Susse, 1945, pp. 303.
L'exottsme et le cinema.
Paris, J. Susse, 1945, pp. 302, ill.
LESCABOURA, Austin C.
Cinema Handbook.
New York, Scientific American Publ.
Co , 1921.
The Cinema Hand-Book.
Edinburgh, Low-Sampson, Marston
& Co., 1922, pp. 507, 32.
LE SIDANER, Louis
Les machines qui parlent.
Paris, Nouvelle Revue Critique, 1941,
pp 224.
LIONE, Alfredo
II Centio Spenmentale per la dm-
matogtafia.
Roma, L.U C.E , 1942, pp. 33
LOHR, Fereno
A filmszalag uija. (La strada della
pellicola) .
Budapest, Magyar Terrneszttudoma-
nyi Tarsulat, 1941
LORULOT, A.
Le Cinema el le Rationalisme.
Herblay, Ed. de ! J Id6e Libre, 1927.
LOWE, T. A.
We All go to the Pictures. Illus.
and caricatured by Coia. Intro, by
A Armstrong.
Edinburgh, Hodge, 1937, pp. 214,
ill.
MACK, Max
Die zeppelnde Leinwand.
Berlin, Eysler, 1916, pp. 144.
MAGNAGHI, Ubaido
Le ombre e lo schermo.
Milatio, La Prora, 1933, pp. 251.
MAGNUS. Erwin
Ltchtspiel und Leben. Filmplaude-
teien.
Berlin, Durr e Weber, 1924, pp. 86.
MANDION, Rene
Cinema reflet du monde. Tableau
d*un art nowveau\.
Paris, Montel, 1944, pp. 254, 8.
MARKER, Frederick
Simbolich der Gesichtsformen Phy-
sionomik und Mimik.
Zurich-Leipzig, Eugen Reutsch Ver-
lag-Erlembach, 1935.
Material fur Films chiiftsteller zusam-
menngestellt von der Redaktion der
Fedier .
Berlin, Federverlag, 1913, pp. 53-
MILLER, Max
For the Sake of Shadows - What
231
happened to an author in Holly-
wood.
New York, Dutton, 1936
MILLER, W.
Movie Brain Teasers.
New York, Treasure Chest Publica-
tions, 1938.
MILLINGHAM, F.
For que nacib el cine.
Buenos Ayres, Editorial Nove, 1945,
pp. 340, ill.
MOHOLY-NAGY, L .
Malereij Photographie, Film.
Miinchen, Langen, 1925, pp. 133, ill.
- 2 a ed, 1928, pp. 139.
MORRIS, W.
Motion Pictures Theatre Accounting.
Philadelphia, Motion Picture Theatre,
Publ. Co., 1923.
MOTA, (da) Costa
7 a Arte.
Lisboa, Cosmos, 1939, pp. 215, 8.
MOYA DE QUIROS, A. & RAMOS,
Jose M.
Del tema a la cntica pasando por el
gmon cmematografico.
MUEHSAM, Kurt
Film und Kino.
Dessau, Duennhaupt, 1927, pp 114
MULLALLY, Frederic
Films, an Alternative to Rank.
London, The Socialist Book Centre,
1946, pp. 32.
NAVARRO, Tomass
El idioma espanol en el cine parlante.
NEERGARD, Ebbe
Hvorfor er Filmen saadan. (Perche
il cinema e cosi)
Kobenhavn, Mandens Forlag, 1931,
pp. 96, So.
NEGREIROS DEALMADA, Jose
Desenhos animados - Realisade ima-
ginada.
Lisboa, Atica, 1938, pp. i2 3 8.
NESTRIEPKE, Siegfried
Wege zu einer neuen Filmkultur.
Eerlm, Volksbuhnenverlags- u Ver-
triebsges., 1926, pp. 20.
NICOLET, J. P.
Intuition matheniatique et dessin
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Paris, Payot, 1943.
NOBRE, Roberto
Horizontes de cinema.
Lisboa, Guimaraes & C., 1939.
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Nor disk film.
Stockholm, Wahlstrom & Widstrand,
1951, pp, 120, 8.
PALLAVERA, Franco (Mario Soldati)
24 ore in uno studio cinematografico.
Milano, Corticelli, 1935, pp. 254
PANOFSKY, Walter
Die Geburt des Films.
Wurzburg, Triltsch, 1940, pp. 96.
PANSTWOWY INSTITUT SZTUK!
Powiesch na Ekranie. Praca Zliorowa
Pod Redakcja Aleksandra Jackiewi-
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phtza.
Warszawa, Filmova Agencja Wydaw-
nicza, 1952.
PICCOLO, Francesco
La jormazione del cicli nella lette-
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PIDERIT, Theodor
Mimlk und Physio gnomik.
Detmold, Vlg d Meyerschen Hof-
buchhandlung, pp. 240, ill. 96 - 4 a
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1925, pp. 242, ill. 96
PIKE, Oliver G.
Nature and my Cine Cam em.
London, The Focal Press, 1946.
PLAUT, Richard
TaschenbucH des Films. Kleiner
Fuhrer fur den intelligenten Film-
besucher.
Zurich, Albert Ziist, 1938, pp 159.
POLLARD, Elizabeth Watson
Motion-Picture Study Groups hand-
book for the discussion leader.
Columbus, Ohio State University,
1934.
RABENALT, Arthur Maria
Mimus ohne Maske.
Dusseldorf, Merkur-Verlag, 1945
RANGER-GULL, C.
Cinema City.
Hurst & Blackett, 1922, pp. 287, 8.
RAUCOURT, Jules
L'animir du cinema.
Ostende, 1926
RAMOS, Jos- M. & MOYA DE QUI-
ROS, A.
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de Quiros, A.).
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Breaking into the Movies.
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232
REGIS, Jules & THALL, Edvm
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Stockholm, 1920, pp. 199.
REHLINGER, Hans
Der Begnff Filmisch.
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Lechte, 1938.
REYNAUD, Jean-Charles & ARROY,
Jean
Attention' On tourne (vedi Arroy,
Jean).
RICHTER, Hans
Aufnahme' Filmgeschichten zusam-
mengestellt.
Berlin, H. H, Richter, 1918, pp. in
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Ich Filmte fur Millionen.
Berlin, Schetzenverlag, 1942, pp. 412,
ill. 46.
FUmoual jsem pro mtliony. (Ich
Filmte fur Millionen) .
Praha, Orbis, 1944, pp. 340, 8.
RIPLEY, Crooks
Walt Disney's Snow White.
Brownlee, 1942.
ROMBAUTS, Wilhelm & DEKEUKE-
LEIRE, Charles & WERY, Paul
Le cinema centre lui mime, (vedi
Dekeukekire, Ch.).
ROSSELLINI, Roberto & VERDONE,
Mario
Colloquio sul neorealismo.
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SABBOT, Edmund
Das Wunderkhid; eine Geschichte
von Film.
Berlin, 1925.
SABON, Paul
Ralenti et acceleie.
in La Revue du Cinema , Pans,
10 e 12, maggio e agosto 19.
SATTIG, Ewald
Die deutsch Filmpresse.
Breslau, Bremer u. Mimith, 1937,
pp. 98.
SCHIEBER, Anna
Kino Konferenzen.
Stuttgart, 1919.
SCHOPEN, E.
Das Kultur problem des Films.
Miinchen, G. Hirt, 1930, p. 38.
SCHWOB, Rene
Une melodie silencieuse.
Paris, Grasset, 1929, pp. 274, 8.
SEEBER, G. & KONRA0, Walter &
EMMERMANN, K.
Knrble. (vedi Emmermann, K ).
SHANE, Leslie
The Film of Memory.
M Joseph, 1938, pp. 423.
SIMON, S. Sylvan
Let's Maize Movies.
New York, French, 1940.
SLANG, F.
Panzokteuw Potemkin.
Berlin, Malik-Verlag
SMOLKA, Janos
Mcsegep a valosagban . (Story-Ma-
chine in reality).
Budapest, Cserepfalvi, 1939.
SOULIER, Alfred
Le cinema parlant.
Paris, Gamier Freres, 1932, ill 16.
STEER, Valentia
The Secrets of Cinema Your Favou-
rite Amusement from Within.
London, C Arthur Pearson, 1920,
pp 124, 8.
STRNAD, Julius
Zvukovy film- a jeho obslnha. (II
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Esc, 1943, pp. 494, 8 - 3 a ed. Esc,
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The Projection of England.
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THALL, Edvin & REGIS, Jules
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Arte cinematogmfica.
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pp. 108, 8<>.
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Der Film. Eine Versuch.
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Le Caire, Les Lettres Francaises
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Ctenio sovetskych filmovych rezise-
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WAHNAU, Gerhard
Studiewzur Gcstaltung der Handling
in Spieljilm, Drama und Erzahkunst
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Sctapbooks 1925-1928
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WERDER, (von) P.
Trugbild und, Wirkliclikeit im Film.
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PP 44
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Charles & ROMBAUTS, Wilhelm
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234
INDICE DEI NOMI
In tondo i nomi degh aiitori - In corsivo i nomi citati nei titoli.
Abbott, H. B. 190
Abbott, M. H. 155
Abdulla, S. 226.
Abel, P. 173.
Abel, V. 130.
Aboucaya, M. 24.
Abreu, E. 190.
Academy of M P Arts and
Sciences 115, 203, 207.
Academy of M P. Arts and
Sciences, Research Coun-
cil 177.
Acher, G 190
Acimovic, D R. 15
Ackerknecht, E. 15, 17, 144,
155, 207.
Acker man, C. W 58.
Adam, T. R. 155.
Adams, F H. 130.
Adler, M. J 15, 83.
Adler, W 130.
Advisory Gommitte on So-
cial Questions League of
Nations 144.
Agate, J. 101.
Agee, J. 38, 224
Agel, H. 101.
Agnew, F. 130.
Agokas, N N. 228
Aguilar, S. 101.
Ahern, E. 130
Ahl, F. N. 155.
Ahmad Abbas, K 101.
Aiken, H. E. 69
Akusckov, S. 28, 70, 101, 102,
130.
Alacci, T. 70
Alban, E. 38.
Alber 38.
Albers, H. 75, 79.
Albertson, L. 130.
Albertini, L. 18'3, 184.
Albitz, X. W. 173.
Albrecht, V. 58.
Alchin, G. 168.
Alden, W. 24.
Aleksandrov, G. 83, 96, 144,
222, 223, 224.
Aleksandrov, G. 46.
Alexander, D. 38, 228.
Alexander, H 177, 228.
Alexander-Katz 173.
Allberg, R. 28, 32.
Allemand, M. 183.
Allen, G. M 58, 130
Allendy, R 16, 18'3.
Allesch, G. J. 83.
Allefeld, Ph. 173.
Allgeier, S. 58.
Alligham, G. 28.
Allimkov 39
Allister, R. 58.
Allport, F. W. 25, 144
Alston, J. 115.
Altenloh, E. 144.
Altman, G 16, 28, 101, 144.
Alvey, G jr. 211.
Amateur Cinema League 190.
Ambrogio 105.
Amengual, B. 101.
American Association of U-
niversity Women 207.
American Council on Edu-
cation. Committee on M.
P in Education 155.
American Library Associa-
tion 207.
American National Film As-
sociation 198.
Amid, J. 15.
Amidei, S 221.
Amiguet, F. P. 228
Amman, H. 16.
Anderau, W. 228.
Anders, F. E. 58.
Andersen, H. 144, 177.
Anderson, L. 58.
Anderson, M. (Milton Ale-
xander Soderberg) 155.
Andra, F. 70.
Andre, G. 26.
Andre jevskij, A. 83.
Andres, D. 24.
Andrews, C. B. 16.
Andritzky, Ch 173.
Andzhan, A. 115, 129.
Angel, E 217.
Angotti, R. 83.
Annenkov, G. 58.
Anoscenko, N. D. 16, 28, 115,
184.
Anschutz, Ottomar 48.
Anstey, E. 38, 101, 108, 109,
111. *
Antem, A. 70.
Antheil, G. 58.
Antongini, T. 59.
Antonioni, M. 39, 220.
Appleton, V. 39.
Aragao, A. 39.
Arai, A. T. 83.
Araldi, V. 16.
Araujo (de), R. A. 155
Archarouni, A. 39.
Arconada, C. M. 70
Argan, C. G. 101
Ariosto, E. 198
Aristarco, G. 19, 28, 43, 49,
83, 10i; 105, 165, 203, 213,
225
Arland, R. M. 59, 104.
Arlen, R 26.
Arletty 70.
Arliss, G. 70.
Armbruster, E 70.
Armstrong, L. 24
Arna, Lissi 76.
Arnau, F. 211.
Arnaud, E 16, 17.
Arnet, E 148.
Arnfeld, J. 59.
Arnheim, R. 25, 39, 8VS-84,
101-102, 144, 184.
Arnold, A. 71.
Arnold, E. 71.
Arnold, J. 66, 137.
Arnoldi, E. 28.
Arnoux, A. 16, 18, 25, 39,
59, 104, 144.
Arnspiegere, V. C. 155
Arnstam, D. .224.
Arnstam, L. 228.
Aros 71.
Aroseff 28, 36, 39.
Arpad, N. 155.
Arroy, J. 71, 228.
Arsciaruni, A 228.
Artis, P. 28.
Arts Council of Great Bri-
tain 228.
Arvidson, L. (Mrs Griffith)
39, 59.
Ashley, W. 144.
Asquith, A. 51, 102.
Association for Childhood
Education 155.
Association of Cinematog-
raphers and Allied Tech-
nicians 203.
Association of Scientific
Workers, 155.
Assunto, R. 84, 102.
235
Astey, E. 49 Barrymore, J. 73, 79.
Atasceva, P .28, 59, 65, 101, Barsciak, 0. 144.
102. Barth, E 173.
Atkinson, E. I. R. 130. Bartoccioni, V. 23.
Atlas, L. 218, 226. Bartohni, L. 102.
Audard, P. 102 Baruch, D. W. 210.
Auerbach, A. T30. Barzman, B. 221.
Aurenche, J. 221, 222, 226. Basan, E 26, 1'30
Auriol, J. G. 20, 39, 43, 71, Bataille, R. 228.
10.2. Batasev, V. V. 115.
Austria Amt f, Kunst und Bates, B 115.
Wissenschaft 198
Autant-Lara, C 221.
Autera, L. 102.
Avenarius, F. 144.
Ayala, F. 84.
Ayfre, A. 84, 102.
Azevedo, M. (de) 16, 228.
Baaroua, Lida 79.
Bab, J. 84.
Babel, J 220.
Babochkm 70
Bach, D J. 228
Bach, R 228.
Backstrom, H. 190.
Baddeiey, H. 130.
Baden, A. L. .207.
Batocki, A. 203.
Battison, J. H. 115.
Ban, N. 190.
Baudelaire, Ch 40.
Bauer, A 198.
Bauer, F. 168.
Baumann-Aumann, \V. 144
Baur, H. 18
Bazm, A 17, 40, 42, 103.
Bazov, P 222
Beach, F G 190.
Beal, S. R. 24
Beaton, W. 115
Beatty, J. 71.
Becce, G. 211, 214.
Bechdolt, J, E 190.
Beck, S. 115
Baechlm, P. 25, 28, 144, 177. Becker, K. H 115.
Becker, J 59.
Begtrup, B 144.
Behne, A 85.
Behr H 85
Beijermk, F. H 177.
* eissel > R 148 -
Bck-Nazarov 40, 218.
Belfrage, C. 177
Bell, M - 13 -
Balazs, B 19, 30, 39, 84, 114, Bell, 26, 144, 156.
102 Bell, R 156
Balazs 83. Belling, 17, 23, 145
Balbi, C. M. R. 115 Bellonci, G. 85.
Balco, A. G 155. Ben-Allah 71
Balcon, Michael 61. Bendick, J 17.
Balcon, M. 22, 29, 31, '34, 177. Bennett, C. N 17, 116.
Baffico, M 71
Bagier, G. 16, 228
Banna, V. 139
Bahrens, K. 16.
Baidukoy 218, 220.
Baily, F E. 71.
Baker, Th Th 115.
Bakshy, A. 102.
Balaksin, A. A. 115.
Ball, E. H. 130.
Balla, 94.
Ballier, W. ,228.
Balljnzek V. 130.
Bamburg, L. 130.
Bancal, 165.
Bandini B. 19, 85, 98.
Bank 134.
Bennett, Constance 76.
Benoit-Levy, J 17, 85, 145,
156.
Benson 130, 139.
Benson, F. G. 190.
Bentivoglio 173.
Benzinger, Th 178.
Bequest 173
Barbaro, U, 19, 25, 30, 39, Beracha, S. 17, 85, 145.
43, 59, 85, 155, 184, 208, Beratungkommission im Vol-
220, 226, 21'3, 214.
Barbaro (trad ) 95.
Barbusse, H. 49.
Bardeche, M. 29
Barjavel, R. 85.
Barga 104
Barkas, N. 59.
Barnes, W. 85.
Baroncelli, J. 102.
Barque, R 130.
Barrault, J. L. 102,
kerbund zum Schutz der
Kinder und Jugend 145.
Berg (Alb an) 51.
Berg, G 40, 135, 145, 156,
198, 203.
Berge, A 16, 103.
Berger, R 116.
Bergmann, H. 228
Bergmann, F, 145. ^
Bergner, Elisabeth ^73.
Bermingham, C 0. 198.
Barry, I. 16, 32, 39, 71, 144, Bernauer, R 228.
208. Berndt, W. 184.
Barrymore, J. 71, 140. Bernhardt, S. 71.
Bernstein, S. L. 145.
Bersancourt (de), E. S. 5$.
Bertelsmann, W 116
Berthomieu, A. 85
Bertome, J. 173.
Berti, V. G 85.
Bertini, F. 71
Bertolucci, A. 214
Bertram, A 17'3.
Bertrand, A. 10.
Bertsch, M. 131.
Bessunger, B. N. 229.
Bessy, M. 17, 29, 33, 40, 43 y
48, 63, 131.
Bethge, E. H, 229.
Betjeman, J 214.
Betts, E. 85
Betz, H. W 17, 23, 145, 178
Beucler, A 16, 18, 103.
Beuss, W. 168.
Bezzola, C. 145
Beyer, N 17, 85
Beyfuss, C 116.
Beyfuss, E. 85, 156, 229.
Beynon, G. W T31.
B.F.I. Film Library 203, 204.,
208.
Bharuch, B D. 199.
Biamonte, S. G. 71.
Blanchi, P. 40.
Biancoli, 219
Bianconi, L 59
Bie, R. 71, 145
Biehk, P 139.
Biennale di Venezia. Mostra
Int. d'Arte Cmematografica
196.
Billicoq, G 178.
Bihnsky, B. 16, 131.
Binder, A F. 71.
Biograph 61.
Bird, J. H. 25.
Birgel, Willy 79.
Birinski, L 226.
Birkigt, M. 116.
Biro, L. 224.
Birot, A. 229.
B.IT. 145.
Bjorklund, G. J. 145
Blakeston, 0. 116, 131, 190.
Blanchard 18.
Blasco, R. 40
Blasetti, A. 29, 35, 49, 69 r
Idl, 219, 221.
Blei, F. 71.
Bleiman, M. 103, 106, 108.
film, R. 40, 10'3.
Bliskhm, P. A 85.
Blitz, A. 71.
Bloch, L. 116.
Bloem, W. 17
Blum, D. 199.
Blucher, M. 116.
Blumer, H. 145, 149.
Bo, C. 103.
Board of Trade 178.
Boehm, 0. 178.
Boehmer, H. 168, 173, 178.
Boisyvon, A. 16, 17, 29.
236
Bokink, J. I 116.
Boll, A. 29
Bollmann, G. 145
Bollmann, H. 145.
Bolsciakov, I 40, 178
Bolscmtzov, M. 222
Bolchinzov 217
Boltianslm, G 116, 229.
Bolvary (von), G 131.
Bomback, R. H. 116
Bom, A 208.
Boni, G. 116
Bommovic, D 116.
Bonn, F. 71.
Bonsels, W. 103.
Bontempelh, M 86.
Bonwitt, G. 116.
Boost, C 103
Bor, V. 86, 131,
Borchardt, K. 116
Borchart, M 116.
Borisov, S. 116, 216
Born, E 145
Bornebush, A 131
Borstoff, H. 178
Bose, G 165
Bost, P 222, 226.
Boughey, D 17, 178.
Bouquet, J. L 20, 86, 90.
Bourgeois, J. 40, 103
Bovay, G. M. 17, 18, 214.
Bowden, L. 184.
Bowden, P. W. 18, 25.
Bowen, E ,214.
Bower, D, 145, 116.
Bowman, W. D. 59
Box, K. 145
Box, S 59, 60, 178
Boyer, J 71.
Boyer, P 199.
Brackett, Ch. 218, 223
Bradley, W. K. 131.
Braga 18.
Bragaglia, A G 59, 86.
Branca, R. 156, 208.
Brancati, 165, 219.
Brandi, C, 86.
Brard, P. 116.
Brasillach, R. 29
Brauchitsch 168.
Braune, H. 47.
Braun-Laurrieu, A 145.
Braunstein, A. 211.
Brazier, M H 18.
Breil, J. C. 69.
Breil, J. C. 24.
Brenner, H. 130.
Bresson, R. 221.
Breton, J. L. 30, 116.
Breuer, K. 146.
Brewste, E. 229
Bricon, R. 190.
Brmguier, P. 71.
Brmker, K. 71.
Brmton, J. P. 103.
Bristol Public Library 208.
British Board of Film Cen-
sors 165.
British Intelligence Objectiv-
es Sucommittee 178.
British Film Academy 40,
50, 54.
British Film Institute 146,
156, 116.
Britton, E. ,229.
Brod, M 146.
Brodianski, B 40.
Brohee 146.
Bronnen, A. 72.
Bronmcof, M. 72.
Brousil, A. M. 86, 229.
Brown, B. 116, 131, 190.
Brown, Clarence 47.
Brown, R. 146.
Broz, J 103.
Bruce, R C. 190, 191.
Bruckmann, L 173.
Brugger, A 199
Brundidge, H. T. 72
Brunei, A 59, 117, 131, 191.
Brunei, G. 40.
Brunius, J. B 40, 49, 10'3
Brunnen, K. 146, 168.
Brunner, R. 168.
Brunstetter, M R. 156.
Brusendorff, 0. 29, 195, 204.
Bruyn Andrews, C 146.
Bryan, G. S 40, 59.
Bryher, W 40, 145, 156.
Bub, G 41.
Buchanan, A 18, 131, 146,
150
Buchanan, S 218.
Bucher, E 210.
Buchnall, N 26.
Buchner, H 165.
Buckle, F. G. 184.
Bugoslavsky, S. 131.
Buhring, F. 117.
Buler, B 218.
Bull, L. 117.
Bull 173.
Bulleid, H. A. V. 117.
Bunuel, L. 219, ,229.
Burbidge, C. 59.
Burg, 0. 131.
Burger, E. 41, 59
Burgev, V. 117.
Burke, T 59
Burmester, L 117.
Burk, W. 168.
Burnett, R. G. 146.
Burnford, P. 191.
Burquet, Ch. 20.
Bursak 18.
Busckm, A. 117.
Butler, F. 218.
Buzzi, A 210, 226.
Caballero Imenez, E. 86, 146.
Cabero, J. A 29.
Cacialov, 39.
Cades, A. R. 41.
Caglio, L. 117.
Cahan-Speyer 173.
Caine, C 131.
Cairn, J. 59.
Cajatte, A. 219.
Calder, J. 131.
Calendoli, G. 41, 86, 199, 223.
Calvert, L. 131.
Calvmo, V. 178, 59.
Calzim, M. 117.
Camermi, M. 221.
Camermi, M. 69, 207
Cameron, J. R. 18, 19, 29,
117, 118, 126, 191.
Cameron, K. 103, 118
Cami, 104.
Carniran, L 118
Campassi, O. 19, 29.
Campbell 118, 124, 125, 127.
Cancellien, E 103, 226.
Cancerel 104.
Canessa, G 29, 26
Cannon, L. H. 168
Cantor, E. 72.
Canudo 48, 9'3.
Canudo, R. 86.
Capitani, U 168, 174 *
Capra, F 45, 204.
Capra, F. 75.
Capousek, K. 118.
Carancmi, G. 50, 59, 219
Carewe, E. 75.
Carlson, V. 59, 63.
Carminati 74
Came, Marcel '39, 47, 48, 52,
53.
Carnelutti, F. 86.
Caro, 174.
Carr, H C. 55, 131
Carrick, B. G. 210.
Carrick, E 210, 131.
Carroll, M. 18.
Carstairs, J. P. 18, 26
Carter, H. 41, 146.
Carter, S. B. 103
Carter, W 131, 139.
Cartuyvels 146
Caruso, M. P. 183, 184.
Casella, A. 103.
Casiraghi, U. 19, 29, 103,
104, 111.
Castelh, E. 86.
Castello, G. C. 41, 72, 104.
Castighone, H. 211.
Catelain, J 60.
Catling, C. 104.
Cauda, E. 118, 1,28, 184, 199,
211, 229.
Cauliez 198
Causton, B 166.
Cavalcanti, A 25, 41, 86,
104, 214.
Cay'n Fernandez, L. 214.
Cecchi, E. 72, 86.
Cecchi D'Amico, S. 219.
Cellarius, L. 169.
Cendrars, B. 60, 229.
Cercasov, Nikolai 73, 80.
Gerniowski 163.
Cervinka 174.
Ceskoslovensky Filmovy Us-
tav. Filmovy Archiv 208.
Cessi, R. 86.
237
Chaiais, F. 41.
Chalmers, H. 118.
Ghamson, A 60
Chance, E. 184.
Chandler, R. ,218, 221.
Chantry, M. 163.
Chaperot, G. 60, 104.
Chaplin, Ch S 35, 38, 60,
63, 104, 220, 223
Chaplin 19, 39, 40, 41, 42,
43, 46, 48, 53, 55, 56, 59,
62, 65, 66, 67, 68, 101, 102,
105, 106, 211.
Ohardois, H. 20.
Charensol, G. 21, 41, 53, 104,
198.
Chergelegne, J. 163
Charles, R 72.
Chariot 48, 54 S 69, 101, 104.
106, 111, 55, 60.
Charters, W. W 146
Chartier, J. P. 60-61.
Chauvet, L. 104
Chavance, L 41, 72, 104, 221.
Chazal, J. 163.
Chelle, G. 60
Chenal, P. 218 221.
Cheronnet 18, 30.
Chesmore, S. 18.
Chesterton, G. K. 86.
Chevalier, Maurice 71, 72.
Chevalier, M. 72.
Chevanne, A. 178.
Chiaramonte, N. 104.
Chiaretti, T. 104, 110
Chiarmi, F 104, 114.
Chiarmi, L. 19, 41 3 43, 49,
86-87, 105, 131, 156, 184,
214, 226, 229.
Child, E. D 156.
Chili 26.
Chiodaroli, G. F. 87.
Chirsckov, B. 220.
Chiti, 94.
Chomette, Henry 104.
Choumiansky, B. 41.
Chretien, L. 118.
Christensen, H. 178.
Christensen, Th. 18.
Christeson, H. M. 60, 72.
Christeson, F. M. 60, 72, 208.
Christiansen, Ch. 118.
Chrysler, R. 24.
. Churchill, W. 87.
Ciaeikov, A. 72.
Ciakinan, G. 41.
Ciancolo, E 132.
Cianreh, Mikhail 41,
Ciaureli, M. 216, 217, 218,
222.
C.I. D A. L. C. 156.
Ciereimikhin, M. 118
C.I.F. 156.
Cfliberti, F. 169.
Cincotti, G. 29, '36, 204.
Cinema Commission of In-
quiry 146.
Cine-Miroir 198.
La Cinematographic Fran-
caise 41, 199.
Cmtioli, G 87.
Circov, A 87
Cirskov, B. 219, 221.
Civardi, L. 146.
Glair, Rene 40, 41, 53, 104,
106, 111, 211
Glair, R. 18, 60, 63, 87, 104,
105, 147, 225.
Clairmant, L. 132.
Clark, E. 24.
Clarke, A H 132.
Clarke, C H. 105
Chft, D. H. 132.
Clouzot, H. G. 40, 41
Clouzot, H. G 221
Cochran, B. 147, 157.
Coehrane, R H. 21.
Cockshott, G 87, 105
Cocteau, J 17, 10, 42, 60, 63,
7,2, 101, 210, 219, 224, 225
Cogni, G. 87
Cohen-Seat, G. 184.
Cohl, Emile 39.
Cohn, A. A. 23.
Cohn, G. 169.
Cohn-AViener, E. 229.
Coissac, G. M. 20, 30, 42,
60, 157, 208, 229.
Cole, S 132.
Collard, C. 147.
Colhjn, G 42.
Collina, V 87.
Collins, F. A 191.
Colman, R. 26.
Colman, Ronald 80.
Golombmi, U. 60.
Colombo, F. 42.
Colpi, H. 42
Comandon 20.
Comin, J. 4,2, 87, 105.
Comitato Tecnico Nazionale
per la cinematografia 118.
Commission on Educational
and Cultural Film 157.
Commission on M. P. in
Education 157.
Conners, M. 60.
Conrad, H. S. 184, 186.
Conradt, W. 147.
Cons, G. J. 157
Consigho, A. 87, 105.
Consitt, F 157.
Constant 147
Conte, L 30.
Contmenza 219.
Contini 43, 50.
Coogan, J. 24.
Cook, D. E. 157.
Cooke, A. 72, 105, 214.
Cook, D. 204.
CoomJbs, F. 118, 126.
Coon, C M. 157.
Cooney, P. J. 132.
Cooper, M, C 60.
Corbaley, K. 24.
Copyright Office 204.
Cordes, H. 208.
Corra 94.
Corte, E. 147.
Costa, A. 42.
Costa, E. 118, 191.
Cotes, P. 60, 66.
County Council Association
157
Courant, C 26
Cousins, E G 18, 132.
Coustet, E. 118.
Covi, A. 26, 87.
Cowan, L. 118.
Cox, V. 59, 60
Craig, G 105.
Crapouillot (Le) 18, 30, 208.
Cremer, E. 147.
Crevel 104
Crichton, K. 72.
Cricks, R. H. 118.
Crocco, N. 105.
Croce, B. 87.
Croize, M 157.
Cromie, R. 118.
Cromwell 66, 137.
Crosby, Bmg 72.
Crosby, T. 72.
Cross, B. 61.
Croze, J. L 20.
Croy, H. 119.
Cruillas, G. 87.
Crump, I. 61.
Czapek, K. C. 184.
Cudhpp, P. 72.
Cuenca Fernandez, C. 105,
229.
Cukor, G. 132, 140.
Culesciof, L. 132.
Cunningham, R. R. 42
Curlis, A 204.
Dahlgreen, R. 119, 229.
Dahlin, T. 16.
Dahms, E. 147.
Bail, H 225.
Dale, E. 18, 22, 147, 157.
D'Alessandro, A. 105.
Dah, S 219, 220.
Dana, H. W L 199, 208.
Dannmeyer 147.
Danot, R 191.
De Masi, H. A. 199.
Dangerfield, F 1'32, 134.
D'Ambra, L 61
Danischewsky, M 61.
D'Annunzio, Gabriele 59.
Daquin, L. 228
Darlington Hall Trustees 18.
Dard, M. 147.
Datig, F. A 3.
Daugherthy, F. 105.
Dautert; E. 147, 157.
Davenport, N. 106, 112, 178.
Davies, F 218.
Davis, B. 76.
Davis, B. 66, 72, 137.
Davis, D. 191.
Davis, K. V. 157.
Dawson, A. H. 178.
Davy, Ch. 214, 19.
238
Day, W. E. L. 30, 212.
De Amicis, U. 119.
Dean, B. 214
Deans, J. 132.
Deans, M. 61.
Debries, E. 61.
De Bruyn, J. 19.
De Curtis, A. (Tot6) 226.
De Cuvillon, M. 229.
De Feo, L. 157, 174.
Dekeukeleire, G. 61, 87, 147,
184, 229.
De Kowa, V. 79.
Delac, G. 20.
Del Amo, A. 30, 87.
De la Roche, C. 30
Del Buono, O. 106, 147.
Del Egido, G. E. 229.
Delluc, L. 42,
Delluc, L. 18, 61, 87, 106,
218.
Delmont, J. 61.
Delons, A. 72, 106.
Delpeuch, A. 19.
Del Rio, Dolores 74.
De Madrid, F. 30.
Demarest, P. G. 72.
Deineny, G. 42.
De Mille, C. B 21, 61.
De Mille, W. G. 61.
De Moraes, V. 106,
Dench, E A. 132. 157, 178.
Denk, P. 157.
Dent, A. 157, 222.
Deren, M. 88.
De Rensis, R. 72.
De Robertis, 47.
De Rochefort, Ch. 72.
De Roos, E. 30.
Derycke, G. 19.
De Sanctis G. 19, 174, 220,
225.
De Sica, Vittorio 48, 108,
204.
De Sica, V. 49.
Desplanques, R. P. 60, 61.
Dessauer, F. 119.
Des Vallieres, J. 72.
Detlefs, H. 184.
Deutseh, A. 1'3,2.
Deutschen Lichtbild Gesell-
schaft 147.
Deutsche Kinotechnische Ge-
sellschaft 199
Devai, B. 119, 122.
Devereux, F. L. 158.
Devillez 174.
Devme, J. E. 184.
Dey, M. 61.
Diamant, Berger, H. 19.
Diaz, Plaja, G. 72, 229.
Dickens, Charles 90.
Dickinson, Th.. 30, 106.
Dickson, W. K L. 42, 61.
Dickson, A. 42, 61.
Dieckmann, F. 19.
Diehl, K. L. 79, 80.
Diehl, 0. 132.
Diel 217, 221.
Diele, H. 147.
Dienstag, P. 169, 174.
Dietrich, Marlene 74, 75, 76,
77.
Di Giammatteo, F. 19, 61,
88, 106, 215, 229.
Dillaye, F 4,2.
Dillon, O. 132.
Dimick, H. 132.
Dinamov, S. 30
D'Incerti, V. 42, 72, 119.
Direction General du Cinema
196.
Disney, Walter 43, 45.
Disney, W. 25, 66, 132, 137,
210
Drvoire, 104.
Dix, W. 184.
Dixon, Thomas 69
Dmytryk 106.
DogLo", C. 147.
Dohnai, A. 158.
Doletti, M. 61, 72.
Dolmskij, I. 106.
Domarchi, I. 42.
Dombat, J 119.
Dombrovskii, L. 7'3.
Donahue, R. 75.
Donaldson, L 184, 191.
Donat, R 214.
Doniol-Valcroze, J. 106.
Donskoi, M. 109.
Dood, N. 24.
Dordsay, M. 42.
Doren, M. 106.
Dost, W. 30.
Douglas, C. H. 73.
Douglas, E M. 132.
Dourgnon, J. 119.
Dovjenko, A (Dovzhenko)
88, 106, 110, 227.
Dovzhenko 48.
Dowlmg, P. 191.
Doyle, C. R. 61.
Dragosei, I. 219.
Drawbell, J. W. 229.
Dreiden, S. 73.
Dressier, M. 73.
Dreyer, C. Th. 41, 48, 50,
102.
Dreyer, C, Th, 88, 226.
Dreyfus, J. P. 73, 225.
Dreyfus-Barney, L. 147.
Drinkwater, J. 61.
Droop, M. L. 73.
Drovetti, G. 61.
Drudi, G. (trad.) 84.
Du Bosch, R. G. 42.
Dubray, J. A. 18, 19.
Dubreux, A. 73.
Ducay, E. 42.
Ducom, J. 184.
Ducos du Hauron, L. 67.
Dukelsky, S. 1'32.
Dukor, 218.
Dnlac, G. 83.
Dulac, G. 16, 20, 42, 88, 158.
Dullm, C. 16, 88.
Dumoret, 169.
Dumoulm 198.
Dunn, F \V. 158
Dunner, J. 147.
Dunning, Ph H. 222.
Du Pasquier, A. 174.
Dupe, G. 178.
Dupont, E. A. 62, 65, 132.
Dupont, E. J. 42.
Durgnat, R F 106.
Duse, Eleonora 78.
Duvivier, Julien 101, 104.
Duyn, G. (van) 184.
Dwan, A. 75.
Dyer, F. JL 62, 66.
Dykes, R. 191.
Dysmger, W. S. 185, 188.
Dzenkevich, B. 43.
Dzuni, D. 30.
Eastman, George 58.
Eastman Kodak Co. 119,,
191.
Eastman, Ph. 220
Eastman, M. 106.
Eaton, \V. 147.
Eckardt, H 200.
Eckert, G. 133.
Eckstein, E. 169.
Eddy, R. 62.
Eder, J. M. 43, 229.
Edison, Thomas Alva 40, 42 S
53, 61, 62, 65, 66, 67.
E F. A 178.
Efimov 62.
Egberts 174.
Eger, L. 147.
Eggehng, Viking 51, 5'3.
Eggert, J 119, 127.
Ehienburg, I. 62.
Ejchenbaum, B. M. 88.
Eichorn, F. 62.
Eidenbenz, H. 25.
Eisenstem, S. M. 40, 46, 52,,
54, 68, 83, 85, 106, 108,
109, 110.
Eisenstem, S. M. 19, 28, 43
62, 88, 89, 90, 96, 103 >
106, 108, 132, 134, 219, 220.,
222, 223, 224, 225, 229.
Eisler, H. 50
Eisler, H. 133.
Eisner, L. 30, 42, 106.
Eith, H. 133.
Ekk, N. 220.
Ekman, Gosta 73.
Ekman, H. 73.
Elie, E. 229.
Eliot, T. S. 223.
Elliot, E. 90.
Elliot, G. 158.
Elliot, W. F. 119, 133.
Ellis, C. 158.
Els, G. 158.
Elster, A. 169, 174.
Emerson, J. 62, 65, I'SS, 223.
Emmer, L. 111.
Emmer, L. 62.
Emmermann, K. 229.
Endore, G. 218, 226.
239
Endres, F. G. 17, 229
Engberg, H. 30, 43.
Engel, J. 119.
Engelbrecht, K 106.
Engelman, 169.
Engelsing 174.
Engl, J. 119, 125, 129.
Englander, A. D. 191, 192.
Epstein, J. 43, 90, 119, 185,
224.
Ericsson, P. 43
Eriomm, D 30, 215.
Enth Education Committee
158.
Erlanger 174.
Ermler, F. 217, 224.
Ermler, Fndrich 51.
Ernst, G. 147, 166.
Ernemann 191.
Escoube, L. 185.
Esenwein, J. B. 133.
Esenwein, Z 135.
Ette, H. 224.
Evangelische Filmkongress
148.
Exposition d'Art Cin6mato-
graphique de Venise 197.
Exton, W. 158.
Ey tinge, L. V. 223.
Fabbri, D. 26, 90.
Fabre, S. 62.
Factor, M. 26, 119
Fagg, J. A. 174.
Fain, G. 178.
Fairbanks, Douglas 65, 72.
Fairbanks, D. 24, 73.
Fairgrieve 158.
Fairthome, R. 119, 124
Falco, A. 174
Falk, N. 43, 119, 133.
Falquina, A. 19, 229.
Fanck, A. 178.
Fanderhk, V. 119.
Fargue, L. P 229.
Farkas, E. 119.
Farnum, D. 2,22
Faro, \V. 73.
Farqu, H. J. 133.
Farrand Thorp, M. 148.
Farrar, D. 73.
Fath, H. 166
Faure E. 25, 90.
Faveau, P. 200.
Fawcett, LE. 19, 1'33.
Fazalbhoy, Y. A. 43
Fazenda, L. 75.
Fayard 30.
Fe, P. 191.
Fedele, M. 191, 193
Fedoroff, A. 43.
Fedorov, B. F 119.
Feild, R. D. 43.
Feiler, Hertha 71.
Fejer, T. 20.
Feldman, H. 43, 90, 204.
FeMnian, J. 43, 90,, 204.
Felix, F. 119, 124.
.Felix, J. 20.
Fellmi, F. 223, 224, 227.
Fels 104.
Fenm, G. N. 4'3, 106.
Ferdinand, F. 133.
Ferdinand-Bhelitz, E. 133.
Fern, G H. 158.
Fernandez Cuenca, C. 30.
Ferrau, A. 73.
Ferri Pisani 16, 31.
Ferro, A. 62, 72.
Ferenczy, T. 30
Fernandez, E. 111.
Fescourt, H. 20, '32, 39, 86,
90.
Festival Mondial du Film et
des Beaux Arts de Belgi-
que 196.
Feuillere, E. 75.
Fez/der, Jaques 43, 49, 54,
75, 204, 224, 226.
Feyder, J. 20, 62, 68.
Field, M. 18, 20, 21, 22, 25,
158, 184, 185, 188.
Fields, W. C. 79, 80.
Fierens 104.
Filho, F. V. 158.
Film Daily ,200.
Film und Volk 148.
Finch, H. R. 158
Finger, W. 229.
Fiornmi, G. 133.
Fischer, F. 120, 124.
Fischer, R. 174.
Fischer, W. 20.
Fischer, S. W. 19
Fitz Richard, H. 208.
Flaherty, F. H. 62.
Flaherty, L. 229.
Flaherty, R. 41, 45, 56, 57.
Flaherty, R. 19, 62, 68
Flaiano, E. 227
Flechter, C. 158
Fleischer, R 120, 128.
Fletcher, J. G. 43, 90.
Fhesler, J. 225.
Flint, M. H. 24
Floesser, A. 73
Flora, F. 90.
Florey, R. 31, 40, 43, 63, 72.
Flugge, G. A. 148.
Fonss, Olaf 74, 75, 79
Forberg, E 178.
Forch, K. '31.
Ford, Ch. 31, 32, 133, 214.
Ford, John 43, 52, 57, 104,
110
Ford, R 148.
Forestje, L 43.
Forman, D 43, 174.
Forman, H. J 148.
Forter, A. 229
Foster, R. B. 31.
Foster, W. T. 2'30.
Foulon, <X 230.
Fourtier, H. 43, 120.
Fowler, G. 63, 73, 223
Fowler, R. A 43, 63.
Fox, Ch D. 63, 73, 133, 200.
Fox, William 59, 68.
Fox, W. 21.
Fox Photoplay Inst. 133.
Fraccaroli, A. 63.
Fragoso, F. 230.
Fraigneau, A. 60, 63.
Francois-Frank, Ch. 185.
Frank, N. 31, 63.
Franke, K. 158.
Franken, T. 13'3.
Franklin, H. B. 120, 178,
Franz, G 185.
Franzero, 44.
Frayne, J G. 120, 129.
Freddi, L. 63.
Freeburg, V. 0. 73, 133.
Freeman, D. vedi Reiche-
bach, H.
Freeman, F. N. 158.
Freeman, J. 44.
Freend, Ch. 133.
Frehse, W. 169, 174.
Frei, H 120.
Freiburger, W. 90.
Frenkel, L 47, 13*3, 135, 185,
Frensdorff, W. 74.
Frentz, H. 74.
Frerk, F. W 120, 191, 200.
Fresnay, Pierre 73.
Frey, 0. 158.
Freybe, Jutte 80.
Freyer, M. 158.
Freytag, H. 120, 191,
Friedeman, H. 169
Friedland, N. 44.
Friedrich, E. 90.
Fnedrich, F. 120, 125, 127.
Friese-Greene, W 26, 133
Fnppet, E 120.
Fritsch, Willy 71
Fritzel, 0. 179
Frohhch, L O 169.
Frohlich, Gustav 75.
Frusta, A. 63
Fuchsig, H. 20.
Fulchignoni, E. 185.
Fulop-Muller, R. 31, 44, 230.
Funk, A. 158.
Furbach, E. 120.
Furduiev, (Furdujiev), V. V.
120, 230.
Furniss, H. 6'3.
Gable, Clark 76, 80
Gabler, W. 120.
Gabrilovic 217.
Gad, U. 20.
Gade, S. 74.
Gadin, 70.
Gale, A. 133, 191, 192, 193
Gallone, C. 49.
Galtier-Boissiere 18.
Gance, A 16, 91, 223, 224.
Gandia, R. M. 75.
Gandini, 106
Gandrup, C. 74.
Ganger, K 159.
Garbo, Greta 47, 52, 70, 71,
72, 74, 75, 76, 77, 78, 79, 80.
Gardm, V 31.
240
Gardiner, A C 63
Garnett, T. 63.
Garwood, G. H 159.
Gasch, S. 31.
Gaskill, L. A. 191, 192.
Gasser, M. 179.
Gassner, J. 218.
Gastine, A. L. J. 44
Gatti, T. 148.
Gaul, K. 1'30.
Gaumont - British Instruc-
tional 185.
Gaumont, Leon 44, 66.
Gaumont, L. 120.
Gaupp, R. 148, 150. 185, 186.
Gavrilov, D. A. 120.
Gavnuscm, C. 230.
Gay, A. 44.
Gedda 26.
Gehrtb, M. 74
Gelmont, A 159.
Gemelh, A 185.
Gemmert, F. J. 120.
Genika, J. 133.
Gentel, M. 228
Genthe, A. 63
Gentile, G. 86, 91.
Georg, M. 74.
George, G. L 44
George, (H.) 74.
George, W. H. 133, 159.
Geiald, J. 63, 74.
Gerosa, G 44, 107.
Gerrard, J. 44.
Gersanek, S. 208.
Gessner, A. 179.
Getvalt, V. 230.
Geyer 44, 192.
Ghelli, N. '31, 91, 107, 133.
Ghenzi, S. 221.
Gherasimov , Serghiei 45.
Gherasimov 70, 74, 76 77,
80, 216, 217.
Gherman 217.
Ghione, Emilw 65.
Ghione, E. 16, 31
Giani, R. 44, 74.
Gianni, A. 91.
Gianmni, A. 21.
Giannitrapani, N. 44, 52.
Gibbons 140.
Gide, A. 107.
Gierke, E. 179.
Giers, A. 179.
Giese, E. 148.
Giese, H. J.
Gigh, B. 72.
Gillet, B. E. 159, 200
Gillette, W. H 133.
Gilmann, C. C. 148.
Gilson, P. 44, 63, 107.
Gina, V. A. 107.
Ginna 94.
Giovannetti, A. 74.
Giovannetti, E. 91.
Gipson, H. C. 179.
Giraudoux, J. 219.
Gish, Lillian 77.
Giussani, C E 179.
Gleason, M. N. 192.
Gleichen-Russwurm 17, 91.
Gloede, F. 174.
Glovert, A. H. T 159.
Glyn, E. 134.
Gnam, A. 148.
Gobetti, P. 107.
Goddard, Ch. L. 224
Godden, Rudi 79.
Godson, 169.
Goemans, 104.
Goetz, K. A. 148.
Goetz, R. 107.
Goetzova, J. 74.
Goldbaum, W. 169.
Goldey, E. 44.
Goldmg, L. 223.
Goldobin, A. 197
Goldovskij, E. M. 120, 192
Goldschmidt 208
Goldstein, H. 59, 63.
Goldin, Samuel 64.
Goldwin, S 63.
Golias, E. 159
Goll, I. 107.
Golias, E 148.
Golovnja, H. 121
Gol stein, L. 74.
Gomez, E. 1'34.
Gomez de la Serna 104.
Gonzales, A. L. 121
Gonzi, . 44.
Goode, J. P. 24.
Goode, K. 179
Gordon, B. 134
Gordon, G 63.
Gordon, J. 63.
Gordon, L. W. 134.
Gorelik, M. 107.
Goreloff, M 134.
Gorisch, R. 121
Gorke, K. 179.
Gorman, G. T. 134.
Gorres, K. 169.
Gotham 208.
Gow 158.
Grace, P. 63.
Graff, W. 20.
Graffagny (de), M. 121.
Grahit Gran, J. 230.
Gramantieri, T. 179.
Grand, G. R. 121.
Grandville, /. J. 47.
Granich, T. 44, 54, 107.
Grassmann, J. 169.
Gratiot-Alphandery, H. 16'3
Grau, H. 185.
Grau, R. 31, 44
Grauman, S. 24.
Great Britain Department.
Committee on Children
and the Cmema 148.
Great Britain Home Office
166
Grebner, G. 226.
Green, F. 44.
Greene, G. 214.
Greenpark Prod. 221.
Gregaard, P. 31, 33.
Gregor, A. 63.
Gregor, J. 31, 44, 71.
Gregory, A. 212.
Gregory, C. L. 121.
Gremillon, J. 223.
Grieger, P. A. 169.
Gnerson, John 45.
Grierson, J. 18, 45, 91, 107,
148, 159, 214.
Griffith, David Wark 38, 39,
45, 48, 49, 52, 55, 56, 69,
90 111, 204.
Griffith, D W. 31, 45, 63,
107, 121, 148, 158, 206.
Griffith, Mrs. D. W. (Linda
Arvidson) 39, 45, 64
Griffith, R, 31, 35, 45, 204.
Gnmom-Sanson, R 64
Grinberg, J. 45.
Gros, L 45, 230.
Groll, G. 19, 91.
Gromo, M. 43. 45
Gromok, J, 159.
Gronostasky, G. 121.
Grosser, R. F 20.
Groth (von der), F T30, 134.
Grundgens, Gustav 78.
Guazzoni, Enrico 51.
Guazzoni, E. 64.
Guckes, E. 148.
Guegan, M. 169.
Guerrasio, G. 74, 91, 107,
159, 211.
Guertler, F. 212; 230.
Guetta, R. 64.
Guidi, G. 32.
Guitry, S. 64.
Gulick, P. 45.
Gunther, R. 170.
Gunther, W. 148, 159.
Gurlitt, L. 159.
Gusev, V 218.
Guth, P. 74.
Guttmann, R. 230.
Gutzeit-Muller 179.
Haack Kathe 71,
Haas, A 185.
Haas, K. B 159.
Habelka, J. 179!
Hackenschmidt, A. 221.
Hafker, H. 148, 185, 230.
Hague, H. M. 159.
Hahn, M. 170.
Hanh-Goerz 121.
Hain, P. (Paul Timpe) 74.
Hala, B 121.
Halas, J. 121, 126.
Halbertsma, N. A. 121.
Hale, B. 31, 34, 36, 91
Hall, R. A. 91,
Halsey 179.
Hanaford, R. F. 134.
Handel, L. A. 149, 107.
Halter, H. 149.
Haman, E. 74.
Harnman, J. 20.
Hamilton, E. 24.
Hammer, M. F. 45.
241
Hammons, E W. 21.
Hampton, B. B '31.
Handel
Hannon, W. M 91
Hansen, F 45.
Hantzschei - Clairmont, W.
121.
Hanzlich, V. 74, 79.
Harbou, T. 96, 223, 224.
Hardy, F. 9, 31, 34, 107,
204, 214.
Hardy, Oliver 72.
Harley, J. E. 149, 166.
Harman, J. 107,
Harms, R. 91, 159.
Harrington, C. 45, 204.
Hams, B. M. B 204.
Hams, P W. 192.
Harmon, L R. 20.
Harting, H. 45.
Hart, W S. 74.
Hartley, M. H. 200.
Hartley, W. H. 149, 204.
Hartman, D. 170.
Hartmann, H, 159.
Hartman, M. R. 159,
Hartwell, H. 75.
Hartwell, W. M. 208.
Harvan Kline, R. 221.
Harvey, Lilian, 74.
Hassack, K. 159.
Hatschek, P. 121.
Hattensch wilier, A. 149.
Hatton, R. 24.
Hauchen, N. 175.
Hauptmann, G. 221.
Hauser, F. 121, 126.
Hauser, H. 149.
Hauser, Ki, M. 145, 149.
Havl, M. 121.
Havelka, J. 205.
Haverrnans, Ch. 175.
Hawthorne, J. 45.
Hawel, W. 159.
Hays, W. H. 31, 166, 21, 45.
Hays 166.
Head, J. 74.
Hecht, B. 218.
Heckroth, Hein 56.
Hefter, R. 149.
Hegedus, T. 91.
Heggerth, M. 71.
Heilborn-Korbitz, L. 96.
Heilbronner, P. 91.
Hem-emann, F. 32. 179.
Heining, H. 230.
Heinsick, P. 134.
Helder, A. 32, '33, 35.
Heller 170.
Hellsen, H, 64.
Hellwig, A. 149, 166, 170.
Hellwig, L. W. 75.
Hemward, S. 134,
Hemardinquier, P. 121, 192.
Henderson, A. 91.
Heuding, A. 32, 64, 75.
Hendricks, B. 179.
Kenggeler-Mobich, E. 179.
Henje, Sonja 75.
Henseieit 200.
Hennery, A. 45.
Hepworth, G. M. 45, 64,
Herbert, J. 75.
Herdmann, H. 212.
Herkt, G. 121.
Herman, H C. 75.
Herring, R. 46, 145, 197,
Herrnkind, 0. P. 192.
Hessel F, 75.
Herz, W. 179.
Herzberg, M. 230.
Hevesy, I. 91, 119, 122,
Heyer, G, 170.
Heygate, J. 122.
Heymann, R. 230.
Heyl, H. R. 46.
Hideo, M. 46.
Hildebrandt, P. 230.
Hill, R. 46.
Hill, W. A. 134.
Hilliker, K. 24.
Hills, J. 159
Hippler, F. 20.
Hirlekar, K. S. 149.
Hirsch, E. 179.
Hirschfeld-Mack, L. 20.
Hitchcock, A. 107, 134,
Hitchcock, A. 50.
Hlinomaz, J. 179.
Hoadley, C. D. 131.
Hoadley, R. 134.
Hoagland, H. C. 134.
Hoban, C. F. 160.
Hobbs, E. W. 192.
Hocevar, M. V. 122, 192,
Hoellriegel, A. 211.
Hofer, A. 170.
Hoffmann, A. 160, 170.
Hoffmann, \V. 175.
Hoft, A. 160.
Ho An, Carola 75.
Holaday, P. W. 149.
Holan, E. 20.
Holberg, G. 75.
Holden, K. 160.
Holenia, A. L. 75, 79.
Holland, C. 122.
Hollebecque, B. L. 225.
Hollering, G. 223.
Hollmger, J. A. 160
Holhs, A. P. 160.
Holmann, C. 160.
Holmes, W. 107.
Holub, Z. 122, 128.
Holsay, R. C. 192.
Holstius, E. N. 64.
Holzherr, W. 175.
Holtz, R. 185.
Home Office 170.
Honeg, K. 20.
Honegger 107.
Honzl, J. 160.
Hope, B. 72.
Hopwood, H. V. 32, 122.
Hora, J. 170.
Horch, F. 75.
Home, M. C. 160.
Homey, Brigitte 78.
Horster, M 170.
Horstmann, H. C. 122, 128.
Horstmayr, H. C. 122.
Hostan, J. 20.
Houben, H H. 175
Houston, H. I. 149.
205. Hove, R 170.
Howard, D, 75.
Howard, L. 140.
Howard, N 132, 134.
Howard, S. 66, 137.
230. Howell, H. 131.
Hoyer, Th. B. F. 32.
Hubert, A. 54.
Hubl, A. 149
Hudson, W, E. 64.
Huettmg, M. D. 179.
Huff, Th. 46, 64, 205.
Hughes, R. 24.
Hugues, E. 75.
Hulfish, D. S. 122.
Humphrey, R. 20.
Hunger, F. 107.
Hunter, W. 230.
Huntley, J 46, 107, 122.
Huret, M. 175.
214. Huston, John 52.
Huswick, A. 24.
Huth, H. 26.
Hutton, C. 64.
Ibach, A 75
Ibbeton, W. S. 122.
Idestam-Almquist, B. 28, SO.,
32, 46, 92.
LD.H.E.C. 108.
Ihering, H. 75.
Iizima, T. 200.
Ikle, M. 179
Imperial Education Confe-
rence 160
Impery, E. F. 192.
Ince, T. H. 50.
Ince, T. H. 23.
Inglis, R. A. 149.
Ingram, R. 24, 73.
Innamorati, L. 122, 129, 185,,
189, 192.
International Cinema Asso-
ciation of Japan 199, 200.
International Educational Ci-
nematographic Institute
149, 160, 185
Internationale Statistische
Bureau der Filmindustrie
179.
Internationale Filmkammer-
179.
Institute of Photography 122..
Ions, E. A 122.
Irskij, C. 122.
Iros, E 46, 49, 92.
Irwm, W. H. 64.
Isern, A. 230.
Ison, J. I. 91.
lurieniev, R. 46,
242
lutkevich, S. 21, 103, 106,
108.
Ivens, J. 61, 65.
Ivens, J. 133.
Ivanov, B. T. 122.
Iwasaki, A 201.
Jacchia, P. 46, 92, 108.
Jackson, A. 134.
Jackson-Wrigley, M. 21, 22,
208.
Jacob 17.
Jacob, M. 104.
Jacobim 205.
Jacobs, L. 52.
Jacobs, L. 32, 46, 47, 49, 134,
208.
Jacobson 212.
Jaeckel, T. R. (trad.) 17.
Jaensch, W. 122, 192.
Jahier, V. 25, '32.
Jalabert, R. P. L. 149.
Jambor, D. 19,2.
James, A. 24.
James, D. 64.
Jameson, A. 47, 64.
Janmngs, Emil 71, 74, 75,
76, 77.
Jarrat, V. 32, 47.
Jason, A 197, 201.
Jasper, G 21.
Jasset, V. 134.
Jaubert, M. 19, 108, 214,
Jaume, R. 186.
Jean, L V. 122
Jeanne, R. 16, 20, 31, 32, 47,
64, 175, 198.
Jeannor F. 230.
Jeannot, F. 122.
Jeanson, BL 221.
Jelliner, G. 122.
Jenicek, J. 134.
Jenicek, V. 2'30,
Jenkins, C. F. 47.
Jenkins, N. 192.
Jennings, T. 225.
Jerrentrup, F. 126.
Jesuitov, N. 46.
Jewsiewicki, W. 205, 208,
Jezek, S. 19, 32, 92, 192.
Joachim, H. 122, 123, 128.
Johansen, M. 230.
Johnson, G. 170.
Johnson, R. 64.
Johnson, R. V. 123.
Johnston, A. 64.
Johnston, A. W. 180.
Johnston, E. 180.
Johnston, W. 149.
Joklova, A. M. 192.
Joly, Henry 51.
Jones, C. R. 65, 75.
Jones, B. D. 47.
Jones, B. E. 123.
Jones, F. A. 65.
Jones, G. F. 123,
Jones, H. H. 184, 186,
Jonson, G. 123.
Jordaan, L. J. 32, 65, 230.
Jordan, 123, 129.
Jotzoff, A. D. 123.
Jraol, V. A. 134.
Juberg, B. 47.
Junakovskij, V. 134.
Junge, H. 123.
Jutkevich 217, 224
Kadar, J. 211.
Kadlec, J. M. 123, 175.
Kafka, H. 75
Kahan, H. 92.
Kahlberg, K. 75.
Kamz, Jo 75.
Kalatazov, M. 65.
Kalbus, O. 32, 160, 186.
Kalensky, A. 175.
Kalma, L. 1'39.
Kallen, H. M. 149.
Kamenik, K. 192.
Kann, M. 214.
Karell, L. 47,
Karjakm, N. A. 123.
Karmen, R. 47, 49.
Karno, F. 65.
Kast, P. 108.
Kastner, 8, 75.
Katayev, V. 32, 33.
Katholischen Filmkongress
149.
Kastner, J. 134.
Katz, N. 47.
Katz, R. 47.
Katz, S. 21.
Kau.er, E. Th. 92.
Kaufmann, N. 186, 230.
Kaufman, Z. 180.
Kautner, 222.
Kautsky, 0. 92.
Kautzmann, V. 135.
Kauzow, F. 175.
Kazigras, A. I. 149.
Kazan, E. 227.
Keaton, Buster 72.
Keeil J. 211.
Keene, R. 65.
Keiflts 217, 221.
Keleti, A. 160.
Kelither, A. V. 135.
Keller 218.
Keller, A. 180.
Keller, H. 108.
Kelly, F. M. 1*35.
Kemp, R. 76.
Kendall, G. P 123, 192.
Kennedy, J. P. 21.
Kennedy, M 21.
Kent, R. S. 21.
Kenwood, C.
Keremukin, M. 92.
Kern, Th. 175.
Kertes, P. 92.
Kessel, J. 65.
Kezich, T. 215.
Khanginkov, A. A. 32.
Kidd, J. R. 160.
Kkfe, R. 170.
Kieserwetter, H. 175.
Riesling, B. C. 21, 123, 135.
Kilian, Z. 92.
Kindt, A. 211.
King, G. 149, 180.
Kmsila, E. B. 123.
Kirillov, N. J. 123.
Kish, E. E 65.
Kispeter, M. 231.
Klabunde, 231.
Klangfilm, 180.
Klein, A. B. 123.
Kleine, G. 205.
Klemhaus, R. 123.
Kler, Rene (Rene* Glair) 67.
Klopfer 74.
Klumph, H. 135.
Klumph, I. 135.
Knap 175.
Knapp, K. 175.
Knepper, M. 65.
Knight, E. 227.
Knospe, P. 160.
Knoteck, Hansi 75.
Knowles, D. 166.
Knowlton, D. C. 160.
Knudsen, P. 21, 231.
Koch, H. 47, 175.
Kochnitzky 104.
Koebner, F. W. 65.
Koefinger 123.
Koegel, G. 186.
Koehne 170, 175.
Koffler, D. 227.
Kohler, H. 123 149.
Kolaja, J. 135.
Kolar, J. 92.
Kolb, R. 160.
Kolornatzev (Kolomoitzev)
P. 47, 13'3, 135
Konig, W 170.
Koon, M, C. 160.
Kooy, J. 231.
Kopecky 34.
Kopsch 175.
Korda, A. 61, 136, 214.
Korger, H. 231.
Korke, H 201.
Kormendy, E. D. L. 21.
Korolevich, V. 59, 65.
Korovkin, V. D. 123.
Koselka 4'3.
Kovinzev 103, 106, 108, 217,.
221.
Kossowsky, A. 123, 161.
Koster, S. 33.
Kotiev, B. 180.
Koval, F. 108.
Kovacs, G. M, 180.
Kowa (de), V. 76.
Kowaliski, P. 119.
Kozma, M. 180.
Kozma, S. 21.
Kracauer, S. 33, 92, 108.
Kraemer-Munchen, E. 175*
Kraentzl, F. 161.
Krampel, M. 92.
Krauss, 74.
Krazna-Krausz, A. 192.
Kreiselmeir, L. 161.
Kress, J. 33.
243
JKrieg, 0. 47.
Krieger, E 149, 161, 205.
Kriegk, O. 180.
Krows, E. A. 123.
Kubenik, H. 47.
Kucera, J 47, 92, 108.
Kuhlein, Th. 12'3.
Kuhn, R. 76.
Kukacevic, I. 214.
Kuleshov (Kulesciov) L 65,
92
Kullmann, M. 33.
Eunitz, J. 44.
Konsel, M. 231
Kunte, J. .21.
Kunzig, B. 171
Kuplent, F. 192
Kurtz, R. 76, 92.
Kurzel-Kuntscheiner 47.
Kusmina 74, 76, 77, 80.
Kyrou, A 47.
Laborde-Guiche 65.
Lacranco, I. 192.
Laemmle, Carl 45, 61
La Fake, F. 135
Laffy, A. 108.
Lame, E. 161.
Laing, E. E.
Lajta, A. 33, 201
Lake, M. L. 212.
Lally, W. L 205,
Lamac, K. 135.
La Marr, Barbara 72.
Lambert, G. 18, 20, 21, 22,
25, 47, 76, 163.
Lambert, R. S. 214
Lambrichs, G. 215
Lamont, M. 26.
Lampe, D. F. 161.
Lampe, Fe. 161, 231.
Lampe, Fr. 161, 186.
Lanchester, E. 76.
Lancy, B. 228.
Landery, Ch. 65.
Landry, B. G 48.
Landry, L. 16, 48, 92.
Lane, G. 124.
Lane, J 161.
Lane, J. F. 108.
Lane, T. 135, 150.
Lang, A. 16, 92, 150, 198
Lang, E. 135, 140
Lang, Fritz 57.
Lang, F. 30, 65.
Lang, R. 150.
Langballe, O. P 124.
Langdon., Harry, 71, 107.
Langdon, H. 75.
Lange, H. 135, 192, 231.
Lange, K. 148, 150, 185, 186.
Lange-Kosak, M 76, 77.
Langer, R. 231.
Langlands, Th. 193.
Langlois, H. 47.
Langsted, A. 31, 33, 76.
Lanla, L. 47.
Lasocita, A. 22.
Lanthrop, W. A. 218.
Lantz, A. 225.
Lanwerys, J. A. 161,
Lanyi, Dr. V. 32, 33, 35
Lapauri, A. A. 124.
Lapie 175.
Lapierre, M. '33, 47, 65.
Lardner, R. 220.
Laroche 226.
Larsen, E 22, 47.
Larson, G. 231
Laserre, J. 76.
Lasky, J L. 21, 66, 137.
Lassus Saint Gemes, J 124.
Latham, G. G. 150.
Lattuada, B. 211, 226.
Laughton, Charles 76.
Laurel, Stan 72.
Lauste, Eugene 51.
Lautenschlager, F. 124
Lavedan, H. 220.
Lavies, H. W. 208.
Law 118, 124, 125, 127
Lawerys 158.
Lawrie, J. P. 193
Laws, F. 150.
Lawson, J. H. 92, 135.
Lawson, R. 135.
Lazaris, G. V. 161
Lazzarini 26.
League of Nation 153
Leander, Zarah 71.
Le Baron, W. 75.
L. B. B. 201
Lebedev, N. A. 33, 150.
Lee, L. 65.
Lee, N 1'35, 231.
Leeds, A. 133, 135.
Lefebre, H. 76.
Lefevre, R. 76.
Lefol, G 22.
Lega, Q. 22, 33, 92, 124, 135.
Leger, F. 92, 104.
Legg, S 119, 124 180.
Lehniann, H. 22, 124, 186.
Lehmann, W. 124
Lehmch, 171.
Lehr, A. 180.
Leip, H. 76.
Leirens, J. 231.
Leiva, A A. 108.
Lejeune, C. A. 18, 20, 21, 22,
25, 33
Leloir, M. 65.
Lemberg, E. D 180.
Lemke, H. 22, 124, 161.
Lenard, E. 193.
Lenin 150.
Leonard, H. 208.
Leonhard, R 22, 92, 150.
Leontev, N. V.
Leprohon, P. 2,2, 33, 48, 108,
231.
Le Roy, Jean A. 53.
Leroy, P 48.
Lescaboura, A. C. 22, 231.
Le Sidaner, L. 231.
Levin 218.
Levinson, A. 92.
Lewin, W. 161, 209.
Lewis, G. 65, 69
Lewis, H. T. 180.
Lewis, R. 22, 24
Leyda, J. 48, 205, 209.
Leydi, R. 48.
Leyland, E. 21, 22, 209.
L'Herbier, M. 16, 19, 92, 215,
221.
Lhote 104.
Lichacev, V. A. 124.
Licht, H. H. 171
Lichte, H. 124, 125
Lichtspielbuhne 150.
Liddy, L. W. 1'35.
Lido, S. 76.
Liebmann, M. 166.
Liedtke, Harry 77, 78.
Liepe, H. 171,
Liesegang, F. P. 22, 23, 48,
124, 186
Lifschiz, S 124.
Likhcev, B S. 33.
Limpricht, 0. 171.
Lindey, A. 166.
Lmdgren, E. 22, 29, 108.
Lindop, A. E. 220.
Lindsay, H. 65
Lindsay, V. 92.
Lindstrom 30
Lindtberg, L. 211.
Lione, A. 231
Liothard, A. 65, 68, 69
Lipp, H 119, 121
Lippsehnetz, R 180.
Lisician, S. 186.
Littrow, D 108.
Lizzani, C 19, 29, 48, 108,
220, 225
Lloyd, Harold 74
Lloyd, H. 76.
Lobel, L 124.
Locker, J 135.
Lo Duca, J. M. 29, 33, 40,
4'3, 48, 49, 65, 93, 108, 124,
180, 186, 209.
Lodovici ,221,
Loew, M. 21.
Lolling, J. 161
Lomas, H. M. 124.
Lombard, A. 93.
Lomeyer, W. G. 76.
London, K 33, 48, 93, 135,
London County Council 161
Longhi-Rossi 161
Loos, A. 62, 65, 133, 223.
Lopez, G V 125.
Lore, C. 1'36.
Lorentz, P. 166, 225.
Lorulot, A 231.
Losey, M. 45.
LoubatereSj P, J. C. 186.
Lovell-Burgess, M. A. 193.
Loverso, G. 180.
Lovichi, A. 125.
Low, R. 33.
Lowe, T. A. 231.
Lowrey, C. 65.
Lozowick, L. 44.
Loy, Myrna 77.
244
Lubitsch, E. 43, 46, 111.
Lubitsch, E. 26, 62, 65
Lubschez, B. J. 33.
JL.U.C.K 180,
Luciani, S. A. 56.
Luciam, S. A. 9'3, 220, 225,
Ludwig, O. 26.
Lukovskij, I. 219.
Lullack, F. 193.
Lumiire 56, 44
Lumi&re, A. 42.
Lumf&re, L. 40, 42, 48, 54.
Lumiere, A. 49, 186.
Lumiere, L. 41, 49, 186.
Lummerzheim, H 193.
Lunatscharsky, H. W. 45.
Lundeen, V. C 136.
Lunders, L. 161.
Lutz, E G. 49, 125.
Luzi, G. F. 93, 109.
Lydor, W. 76, 136
Lytell, B. 23.
Lytton, G. 136.
Macall, M. 224.
Macbean, L. C. 136, 125.
Mac Bride, M. M. 76.
Mac Cabe, G. P. 166, 171.
Maccargo, D 1'36.
Mac Cromy, R. J. 136.
Macheret, A 32, 33.
Mack, M. 231.
Mackensier, N. 49
Mac Orlan 109.
Macpherson, J. 24.
Macqueen-Pope, W. 76.
Maday (de), A. 161.
Maddison, J. 49, 93, 186.
Madrid (de), F. 49.
Maetzig, K. 180.
Maggi, R. 93, 180, 186.
Magnan, A. 186.
Magnaghi, N 231.
Magnus, E. 76, 231.
Magny, C. F. 93.
Makin, W. 76.
Makowsky, W. 125.
Malerba, L. 49, 215.
Malms, G. H. 66.
Malipiero, G. F. 109
Malkowsky, E. F. 76
Mallet-Stevens, R 16, 136
Malraux 19, 93.
Mamdapurkar, G. 186.
Mammuccari, G. 93.
Manasse, F. 166.
Mandion, R. 109, 231
Mandora, L. 109
Mangraf, E. 171.
Manker, R. L. 24.
Mankiewicz, 19, 106, 220.
Mann, Th. 65.
Mannino, Ph. 161.
Mannino Patane" 125.
Mannon, W. 224.
Manvell, R. 19, 22, 29, 31,
32, 34, '35, 43, 49, 109, 136,
150, 201, 209, 218.
Mara, Lya 76.
Marais, J. 72
Marbe, K. 186.
Marchand, R. 49, 57, 150,
162, 181.
Marchant, J. 162
Marchetti, R. 150, 171.
Marchi, A. 215.
Marchi, V. 125.
Marcks, G. 162
Maresca, J. V. 26.
Marette, J. 125.
Marey, J. E. 20, 40, 48, 51
Marey 186.
Margadonna, E. M 34.
Margrave, S. 136, 221.
Mariani, V. 125.
Mariani delPAnguillara 225
Marinetti, F. T 94.
Marinucci, V. 19, 49, 219.
Marion, D. 49, 66, 92.
Marion, F. 136.
Marker, Gh. 105.
Marker, F. 231.
Marotte, 176.
Marquis, D. 150.
Marschall, B. 147.
Marsh, M. 136.
Marshall, S. J. 226
Marston, W. M. 22, 24, 93,
94, T36, 138.
Martell, D. 146.
Marti, S. V. 24.
Martin, A. 109.
Martin, E. A. 219.
Martin, 0. J. 150.
Martin Th. C. 62, 66.
Martini, I. 77.
Martini, W. 76, 77, 125.
Marzelle 198.
Marx Brothers 72
Marx 66, 137.
Masereel 104.
Masetti, E. 93.
Masi, G. 93.
Masing, O. 150.
Mason, J. 77.
Master, L. 77.
Mastrostefano, R. 93, 109.
Masure, J. 209.
Mathias, J. 225.
Mathieu, C. J. 150
Matousek, F. 212.
Matterstock, A.
Mauge, R. A. 77.
Maugham, W. S. 226.
Maurer, R. O. 201.
Mauriac, F. 198.
Maurice, G. 20.
Maurois, A. 16, 92, 109
Mazzetti 219, 221.
Mazzotti, R. 201.
Mazzotti Biancmelli, F. 34.
May, B. 171.
May, M. A, 150.
May, F. F. 136.
May, Mia 80.
May, R. 19, 26, 49, 92, 109,
136, 162, 218, 219.
Mayer, Carl 68.
Mayei, G. 96, 176, 226.
Mayer, J. P. 150.
Maynard, K. 75.
Mayorga, M. 19'3, 218.
McCann, R. N. 1'36.
Me Clusky, F. 162.
Me Crory, J R. 136.
Me Donald, G. D. 162, 209.
Me Intyre, R B. 23.
Me Kay, H. C. 125, 193.
Me Kown, H. 162.
Me Lagen, V. 77.
Me Lean Mullen, S. 22.
Meensbruggee (van der) G.
49, 187.
Meignen, F. 171.
Meli&s, Georges 39, 40, 44,
48, 53, 54, 56, 206.
Melies, G. 49, 51, 66, 226,
Melin, O. 200
Melnitz, W. W. 150.
Menarmi, A 187.
Mendel, G. V. 120, 125, 127,
212.
Mendez Leite, F. 34, 66.
Meneghmi 26.
Mente, O. 125.
Mentha, B. 176.
Mercalfe, L. S. 181.
Mercanti, 219.
Meredith, B. 223.
Meredith, G. P. 16.
Merkel, H. W. 166.
Mertc, K. 125.
Mesgmch, F. 60.
Messel, R. 34.
Messmann, W. 1'31.
Messter, 0. 66.
Meunier-Surcouf, G 16, 66.
Meyer, B. 49.
Meyer, Hfl 171.
Meyerhoff, H. 187.
Micha, R. 66, 224, 205.
Michaut, P. 49, 104, 109, 198.
Micheroux de Dillon, A. 181.
Mickey Mouse 18.
Mida, M 49, 66, 77, 109.
Miehling, R. 125.
Mierendorff, C. 109.
Mierscough, W. 125.
Mihaly, D. 125.
Mikaloff, S. G. 136, 140.
Mikhailovic 218.
Miles, J. 162.
Milhaud, D. 50, 66, 109.
Miller, V. 150
Miller, M. M. 162, 231.
Miller, W. 232.
Millingham, F. 34, 232.
Milliken, C. E. 151.
Milne, P. 137.
Minney, R. J, 22, 66.
Minter, L. F. 125, 193.
Miranda, Isa 73.
Miranda, I. 77.
Mirsky, D. S. 50.
Mitchell, A. M. 151.
Mitry, J. 50, 77, 205.
Mleinek, E. 171.
245
Mogesen, H. 22.
Mohl, W. 181.
Moholy-Nagy, L. 94, 2'32.
Mohr, H. 137, 181.
Mohring 176.
Mohrmann, H. 181.
Moigno 50.
Holey, R. 151, 166.
Holler, H. 181.
Holloy, E 125, 193.
Monagnan, I. 77.
Hondello, P 30, 105, 109.
Homer, P. 193.
Montagu, I. 166.
Hontagu, I. (trad.) 95.
Montanari, M. 171
Hontesanti, F. 34, 50, 77,
215, 223, 226.
Montgomery, Robert 76, 80.
Moore, Colleen 76.
Morand 104.
Horandi, A. 50.
Mor-eck, C. 66.
Hori, F. 109.
Moris, R. 22.
Morkovm, B. 25.
Horlion, F. A. 94, 109.
Morris, L R. 66.
Morris, W. 118, 124, 125, 127,
232.
Morton, L 50.
Moscon, G 166, 176.
Mosjoukine, Ivan 71.
Moss, L. 145.
Mota (da), C. 34, 232,
Mounier, J. M. 2,28.
Moussinac, L. 16, 17, 18, 22,
30, 34, 50, 104, 151.
Moute 3 M. 135.
Moya de Quiros, A. 232.
M. P. P. D. A. 166.
Muckermann, R. 148.
Muddle, E. J. 137.
Muehlenan, M. 137.
Muehsam, K. 212, 232.
Muhr, A. 77, 145.
Mullally, F. 232.
Muller, A. 176.
Muller, G. 94.
Muller, K. 151.
Muller, H. M. 181.
Muller-Marquardt, F. 162.
Muller-Sanders, H. 166.
Muller-Strauss, M. 28, 144.
Mumm, R. 151.
Munblit 218.
Mungenast, E. M. 77.
Mum, P. 137.
Munkepunke (A. R. Meyer)
77.
Munsterberg, H. 94, 187.
Murawsky, F. 162.
Murnau, F. W. 40, 42, 46. 52
57.
Murnau, F. W. 66.
Murri, P. 66.
Murry 104.
Musatti, A. 176.
Muskeii, W. 151.
Muybridge, E. 187.
Nack, E. W. 136, 137.
Nadell, A. 125.
Nagel, A. 181.
Nagy, L 109.
Nagy (von), Kate 79
Namias, R. 191, 193.
Nanni, A. 22.
Napierkowska, Stascia 107.
Narath, A. 125.
Narodnickij, M. D. 181.
Nash, P. 214.
Natanson, J 224.
Naumann, G. 187.
Naumann, H. 193
Nathors'-Boos, E. 181.
National Board of Review of
M. P. 50, 205.
National Council on Public
Morals 151.
National Council of Women
167.
National Film Library 40,
50, 54.
National Film Board of Ca-
nada 50.
Naumann, H. 121, 126.
Naumburg, N. 66, 137
Navarro, T. 232.
Neal, E. G 187.
Neergaard, E 22, 50, 171,
206, 232.
Negreiros Dealmada, J. '323.
Negri, Pola 75.
Negri, P. 77.
Negroi, B. 222.
Neilan, M. 24.
Neil son Baxter, R. K. 202
Nehmitz, M L. 176.
Nelson, C. A. 126.
Nelson, J. A. 137.
Nestnepke, S. 232.
Neuherg, E. 171.
Neuhaus, R, 126.
Neumann, C 23, 145.
Neumann, H. 151.
Neumann, K. 17.
Neumark, E, 176.
Neuss, Alfred 72.
Neves da Cruz, J. A. 151.
Newman, R. 50.
New York State Motion Pic-
ture Commission 171.
Nichols, D. 218.
Nicklaus, T. 60, 66.
Nickol, H. 162.
Nicolet, J. P. 232.
Nicoll, A. 209, 94.
Nielsen, Asta 72, 76, 77, 80.
Nielsen, K. P. 77.
Niessen, C. 50.
Nikitin 74, 76, 77, '80.
Nilin, 222
Nilsen, V 19, 94.
Nizer, L. 167, 171.
Noak, V. 23.
Nobecourt, J. 181.
Noble, L. 137, 218.
Noble, P. 50, 66, 77, 202, 206.
Noble, W. 162.
Nobre, R 23, 2'32.
Noel, F W. 162.
Nogues 20, 51.
Nordemar, 126.
Nordenfalk, C. 51, 53
Norgate, M. 109
Normand, Mabel 69.
Notcutt, L. A. 150.
Novarese, V. N. 221.
Novarro, Ramon, 78.
Novarsky, N. 51
Novello, Ivor 76
Noverre, M. 51 60.
Nowak, K J 23.
Nozet, H. 151, 187.
Numeroso, N 187.
Nusser, L. 148
Nussy, M. 167.
Oberschall, A. 197.
Oberschall, A 197.
Oberhagemann, E. 151.
Oberholtzer, E. P. 151
Obermayer, A. 51.
Brien, P J. 77.
0* Connor, S. 126.
0' Dell, S. 218.
Odencrants, A. 23.
Odets, C. 218.
Oertel, R 51, 202.
Offenhauer, W. H. 193.
Office Cath. Int. du Cinema
(OCIC) 151.
Oganesov, K. 51.
Ojetti, P. 136.
O'Laogharie, L. 23
Oldnch, K. 197.
Ohmsky, F 181.
Olivier, Laurence 110.
Olivier, L 222
Olivier, P. 77.
Olsen, 0. 77
Ordynsky, R 151.
Opfermann, H C 23, 19'3.
Ophuls, M. 224.
Origlia, P. 187.
OrZa, Ressel 76.
Orlova, Lmbnv 81.
Ortman, M. G. 94.
Osten, G. 232,
Osten, G. 67.
Ott, R. 137, 181.
Ottavi, N. 181
Otten, J F. 34.
Otten, M. 137.
Otten, N. 67.
Ottley, D. C. 162 193,
Overmanns 51
Owen, F 137
Owners, K. 67.
Pabst, Georg Wilhelm 41, 51,
62, 104.
Pabst, G. W. 25, 67.
Pabst, R 71, 181.
Packer, H. 162.
246
Paderni, S. 162
Pagnol, M. 220.
Pahl, W. 151.
Paimann 206
Paine, A. B. 77.
Paladim, A. 67.
Paladino, S. 137.
Palau, J. C. '34
PalemJborg, R. P. 78.
Pallavera, F. 232
Pallemberg, R. 78
Palmer, A J. 67.
Palmer, E. 0. 51, 67.
Palmer, F. 24, 137.
Palmer Institute of Author-
ship 138.
Palmieri, E F. 34, 109
Paluzzi, R. 212.
Panczal, L. 34.
Pandolfi, V. 51, 105, 109,
151.
Panofsky, W. 232.
Panstwowy Institut Sztuky
232
Paolella, R. 49, 51, 94, 110,
187.
Paolmi, F. 52.
Paolucci, 19.
Pardoe, F. E. 108, 110.
Parent, C. 181.
Parfentev, A. 126.
Parker, M. 24
Parolini, G. 126.
Parry, Lee 74.
Parsons, L. 67, 138.
Parville (de), H.
Pascal, G. 61.
Pascal, M. 202.
Paschke, G. 181.
Pasinetti, F. 19, '34, 52, 138,
139, 212, 226.
Pastrone 54.
Patera, R. 34.
Pathe 66.
Pathe, Ch. 67.
Pathe, Th. 23
Patterson, F. T. 138, 219.
Patti, E. 220, 221.
Paul, P. 138.
Paul, R. W. 52.
Paulon, F. 206
Pavard, F. 171.
Pavlenko, P 218, 222.
Peacocke, L. T. 138.
Peden, Ch. 67.
Pelayo, J. 52.
Pellegrini, G. 52, 162.
Pellizzi, C. 151.
Pepper, D. L. 138.
P. E. P. (Political Econo-
mic Planning) 19, 34, 152,
181.
Peres, S, B.
P6rier 104.
Perilli, I. 220, 221.
Perlman, J. W. 23.
Perry, C. 152.
Persichini, R. 44, 52.
Pessels, K. 191, 193.
Peter, J. 152.
Peters, C. 152.
Peterson, M. 31, 34, 36, 78,
152
Petr, J. 23.
Petrolini, E. 71.
Petrolmi, E. 78.
Petrov, B. M. 224.
Petrov, E. 138.
Petrov, Vladimir 40.
Petrovic, 218
Petrucci, A. 43.
Petsch, R. 94.
Petzet, W. 167
Petzold, E 126.
Pfeiffer, H. 19, 17
Pfennig, B. 171.
Phelan, J. J.
Phillips, H. A. 23, 1'38.
Phillips, C. 138.
Photoplay Research Society,
23.
Physiac, L. W. 24.
Piccolo; F. 232.
Pidderit, T. 232.
Pick 219.
Pickford, Mary 23, 72.
Picot, M. 20.
Pietrangeli, A. 29, 52, 92, 110.
Pike, 0. G. 187, 232.
Pilon, G. 110.
Pinelh, T 227.
Pmtsch, H. R 176.
Pio XI 152.
Pirandello, L. 94.
Piraux, H. 126.
Piscator 44
Pitchford, R. 118, 126.
Pitkin, W. B. 22, 24, 93, 94,
136, 138.
Plank, O. 152.
Plateau, Joseph 49, 187.
Plateau, J. 52, 187-188.
Platt, A. 138.
Plaut, R. 232.
Pobbig, A. 171.
Plicka, K. 139.
Plugge, W. 171, 176, 181.
Poggioh 54.
Poe, Edgar 91.
Pogodin 217.
Poillon, R. 167.
Poirier, L. 176, 220.
Polacek, K 52.
Polak, J. 24, 126.
Poli dor 80.
Political and Economic Plan-
ning (PEP) 19, 34, 152,
181.
Pollard, E. W. 232.
Pomescikov, E. 218, 219, 223,
226.
Ponzo, M. 188.
Popert, H. M. 152.
Pordes, V. 24.
Porges, F. 24, 67.
Porlock, K. 225.
Portalupi, P. 138.
Porten, H. 78.
Porter 5'3.
Porterfield, A. W. (trad.) 17.
Portnov, V. 222.
Portstendorfer, W. 176.
Potemkin, H A. 35, 52, 94,
110, 152.
Potu, E. 176.
Potonniee, G. 52, 67.
Pottinger, MC 209.
Poulaille, H. 52, 67, 104.
Poulet, R 110.
Powdermaker, H. 152, 167.
Powell, M 67, 223.
Powell, V. B. A. 126, 138
Pozsonyi, G. 193
Pratt 209.
Pravolmsof, V. A. 162.
Preis, M 24.
Pressburger, E 223,
Prevert 101.
Prevert, J 112, 219, 226
Prevost 18.
Priacel, S 52.
Prieto, T. 138.
Prinzler, H. 110.
Prive, J. C. 138.
Privett 121, 126.
Prolo, 35, 52, 78.
Promio, A. 67.
Prosperi, G. 4'3, 110.
Pryor, H. S. 24.
Pryor, W G. 24.
Prat 217.
Protazanov, lakov 39.
Psilander, Valdemar 75, 78,
80.
Ptusko, A. 126.
Public Morality Council 152.
Public Relations of the M.
P. Industry 152.
Puccini, G. 19, 52, 138, 139.
Pudovkin, V. 19, 30, 34, 39,
48, 52, 54, 67, 83, 90, 95-96.
106, 110, 216, 223.
Puissances d'opinion 152*
Purificato, 110.
Quaglietti, L. 4'3, 104, 110.
Quell, A. 78.
Queval, J. 47, 52, 53, 110, 206.
Quigley, M. 35, 167.
Quint, P. 16, 96.
Quirk, J. 23.
Quiroz, A. 96.
Rabagliati, A. 78.
Raab, E. 181.
Rabenalt, A. M. 67, 202, 232.
Radinoff, F. 139.
Radnor, L. 139.
Rado, I. 32, 3'3, 35, 202.
Ragghianti, C. L. 43, 96, 139.
Rahbek-Smith, E. 162.
Raignel, D. 176.
Raimu 77, 78.
Rame, J. 152.
Raisman 216.
Rakmanov 221, 217.
247
Rambova, N. 78.
Ramin, R. 78.
Ramond, E. 53, 67, 78.
Ramsaye, T. 35, 53, 139, 202.
Ramsey, L. L. 162.
Rand, H. 22, 24.
Ranger-Gull, C. 2'32.
Han k 70.
Rankine, A. G. 126.
Rapaport, G. 212.
Rapoe, E. 139.
Rappart, H. 78.
Rast, J. 96.
Rastelli, D. 96.
Rath, W. 96.
Rathburn, B. J. 139, 182.
Rathgeb, K. 182.
Raucourt, J 232.
Ramos, J. 232.
Rava, C. E. 126.
Rawlison, A. 222.
Raynaud, R 104.
Raynor, H. 110.
Razumovskij, H. 224.
Rebatet, L 152.
Reboul, E. 163.
Reed, L 211, 202, 67.
Reed, J C. 232.
Reed, M. G. 223.
Reed, S. 24.
Reeves, M. 67.
Regent, R. 41, 53, 78, 198.
Regis, J. 2'33.
Regnier, J. 126.
Rehlinger, H 19, 96, 233.
Reichenbach, H (David
Freeman) 67.
Reinert, G. 212.
Reinhard, E. 152.
Reiniger, Lotte 57, 223.
Reisch, W. 221.
Reitz, H. 171, 176, 182.
Remogna, E. 172.
Renaitour, J. M. 53.
Renda, A. 96.
Renkov, N. 126.
Reumont, E. 96.
Renner, P. 126.
Renoir, Jean 39, 50, 53, 206.
Renoir, J. 222, 68.
Renshaw, S. 150, 153.
Renz, I. 126.
Renzi, R. 30, 110.
Resnevic Signorelli, 0. 53,
78,
Reynaud, J. C. 233.
Regdaud, Emile 39, 41, 51,
66.
Reynaud, R. 68.
Reyner, J. H. 193.
Reynolds, F. W. 110, 126.
Ribolzi, J. 68.
Ricamaunt, J. 110.
Ricciotti, G. 172
Richard, A P. 16, 139.
Richard, J. 53.
Ricardson, F. H. 126.
Richter, Hans 57, 83.
Richter, H. 49, 51, 53, 78,
96, 110, 222, 2'33.
Richter, K. 153.
Richter, Paul 78.
Ricketson, F. H. 182.
Rider, J. 118, 126.
Rideout, E. H 35, 78, 202.
Riefenstahl L. 68.
Rikli, M. 233.
Rim, C. 53.
Ripley, G. 233.
Rippo, G. P. 126
Road 43.
Robbms, M. 153, 163.
Roberts, A. 163.
Roberts, Ch J. 212.
Robertson, G. R. 68.
Robin Hood (pseud, di Ides-
tarn Almquist) 53.
Robinson, C. T. 68.
Robinson, C 222
Robson, E. W. 153, 35, 68.
Robson, M. M. 35.
Roeber, G. 172, 176.
Roger, G. 172.
Roemer 17.
Roethlinberger, E. 176.
Rogers, B. 78.
Rogers, Will 71, 77, 78.
Rogers, W. 73.
Roget, P M. 188.
Rogge, J. 177.
Roggen, C. J. 53.
Rognoni, L. 35.
Roguet, A. M. 15'3, 206.
Rohwer-Kalmann, H. 172.
Holland, R. 224.
Roller, E. 188.
Roman, B. 53.
Ronxbauts, W. 233.
Roncm, V. 126.
Rondi, G L, 29, 35, 50, 219.
Room, M 217.
Kooney, Mickey 77
Roos, C. 139
Rosay, F. 62, 68.
Roos, K. 18.
Roscial 216.
Rose, T. 130, 139, 193.
Rosenberg, K. 163, 218.
Rosenheimer, A. 32, 68, 209,
Rosenthal, P. S. 153.
Rosenthal, N. H. 163.
Roshal, G (Roscial) 49, 53
Rosier 53.
Ross, B. 110.
Ross, C. 68.
Ross, E. N. 139.
Ross, J. S 78.
Ross, M. 153.
Rossani, W. 96.
Rossellini, R. Ill, 223, 224.
Rostand 198
Rosten, L. G.
Rotellar, M. 5'd, 206.
Rothacker, W. R 24.
Rotha, P. 18, 20, 21, 22, 24,
31, 35, 68, 97, 110, 111, 153,
206, 227.
Rothy, F. 127.
Rouquier, G. 210.
Rous, F. 127.
Rowson, S. 153, 182
Rozkov, N. 223
Rozner, J. 139.
Roznetmsky F. 127.
Roy, J. 68.
Royal Photographic Society
of Grat Britain 193, 215.
Rubley, J. 220.
Ruckmick, G. H 185, 188.
Rudenski, D. 188.
Ruemmele, E 153.
Ruhmann, Heinz 71.
Rulon, P. J. 188.
Russell, L. C. 1'39.
Russkowsky, A. 97, 153, 177.
Rust, E. 193.
Ruszkowsky (Russkowsky)
Rutte, M. 78, 79
Rutland, J. R. 167.
Sabaneev, L. L 139.
Sabbot, E. 233.
Sabon, P. 188, 233.
Sades, H. 188.
Sadoul, G. 17, 25, 30, 35,
50, 53, 111, 198, 206.
Sailer, J. 172
Salacrou, A. 221.
Salado, J. L. 35.
Salmon, H. 97, 104
Salvador!, F. 44, 54.
Samivel 65, 68, 69.
Samuleit, P. 153, 145.
Sandberg, A. W. 43, 67.
Sanden, U A. 153.
Sandrock, A. 78
Santen, J. J M. 212
Sargent, E. W. 127, 182.
Saslavsky, L. 222
Sassi, L. 127.
Sattig, E, 223.
Saurel, L. 20.
Savary, E. 163.
Sawersky, M. 68.
Scerbakov, V. V 127.
Scervmskji, S. 97.
Schamoni, V. 97.
Schand, P. H. 127.
Scharnberg, M. 127.
Schatz, K. 172.
Scheel, W. 16'3
Scheinplug, F. 25, 177.
Scheminsky, M. 127.
Schening, F. M. 139.
Schenstrom, C 78.
Scherer, M. 97
Schieder, A. 233.
Schilling, E, B. 172.
Schimmer, F. 163.
Schlamp, H. J 78.
Schmalenbach, W. 25.
Schmid, E. 79.
Schmidl, P. 68.
Schmidt, G. 25, 51, 153.
Schmidt, H. 127.
Schmidt, R. 119, 127.
248
Schmitt, W. 153.
Schneider, E. 163.
Schneider, Mag da 75
Schoenhals, Atbrecht 79.
Scholte, H. 35, 54.
Schonhuber, F X 17, 172,
188.
Schopen, E. ,233.
Schott, P. 188.
Schrieber, K. F. 172.
Schroth, Kannelore 71.
Schroubeck, R. 25.
Schubert, W. 163, 172
Schuen, H 188.
Schulte-Strathaus, L. 153.
Schultze, A. R. 127, 153.
Schultze, E 163.
Schulz, C. 68.
Schulz, F 193.
Schulz, L 97.
Schumann, G. 177.
Schumann, W. 25.
Schunemann, C. 75, 79.
Schusatck, E. H. 35.
Schutz, M. 16 127.
Schutze, A. 145, 177.
Schwartz, Gh. 172
Schwarz, M. 187.
Schweisheimer, W 15'3
Schwob, R. 233.
Sciascia, U. 97.
Scientific Film Association
163, 188.
Scipulmskij, F 97.
Scognamillo, G 54, 79.
Scotese, G. M. 97.
Scotland, J. 54, 127.
Scottish Film Council 163.
Scottish Educational Film
Association 163.
Scyberg, R. 79.
Seabury, W. M. 153.
Seaton, K. H. 163
Ssaton, M. 54 S 68.
Seberstov, V. 127.
Sedlak, J. 139.
Seeber, G. 2'33.
Seeger, E. 172.
Seiller, 177.
Seldes, G. V. 35, 54, 111.
Seligsohn 177.
Sellers, W. 163
Sellmann, A. 153, 163, 172.
Seman, L. 165.
Sennett, Mack 4*3, 52, 63.
Sepeljuk, V. 127.
Seredy, J. S. 212.
Serradifalco, L. 79.
Serrano, A, 54.
Serrano, J. 163.
Settinelli 94.
Sewell, G. H. 182, 193.
Sewig, R. 127.
Shakespeare 222.
Shane, L. 233.
Shanghelaia, Nikolai 80.
Shannon, W. S. 193.
Shapiro, C. M. 139.
Shaw, G. B. 91.
Shaw, G. B. 70.
Shearer, Norma 73.
Shelley, F. 111.
Shandan, L. 139.
Sherwood, H. F. 153.
Sherwood, R. E. 136, 206.
Shipp, C. 79.
Shirk, A H. 24.
Shklowsky, V. Ill, 1'39.
Shortt, S. 167.
Schuttleworth, F. 150, 153
Singaux 198.
Signorini, G. 36.
Sills, M. 21.
Simon, H. V. 167.
Simon, Michel 74.
Simon, S S. 233.
Sinclair 118, 124, 125, 127.
Sinclair, U. 68.
Singer, A. E. 188.
Sjostrom, V. 42, 46, 104.
Sjostrom, V. 68
Skold, 0. 51.
Skolsky, S. 219.
Slang, F. 233
Slavik, J. B. 127.
Slevin, J. 139.
Slesinger, T. 218.
Shiys, A. 163.
Silver, M. L. 202.
Smethurst, P. C. 127.
Smirnova, M. 52, 54, 226
Smith, F. H. 139
Smith, P. 184, 185, 188. *
Smith, S. 24.
Smith-Ross, J. 26.
Smolka, J. 233
Smrz, K. ,25, 47, 74, 79, 139,
193, 214.
Snay, H. 153.
Snell 188.
Society for Cultural Rela-
tions with URSS 40, 50, 54.
Sofia, C. 54.
Sokolov, I. V. 36.
Sohnker, Hans 79, 80.
Solal, L. 172
Solaroli, L. 54, 182.
Soldati, Mario 47.
Solovjev, L. 220, 222.
Solskij, D. 127.
Solsky, W. 54.
Sommerich, J 153.
Sorge, E. 68.
Soro, F. 68.
Sors, I. 54.
Soukharebski, L. 188.
Soulier, A. 233.
Soupault, Ph. 55, 69, 104
Spaak, Ch. 222, 223.
Spacil, K. 55.
Spain, Ch. 163.
Speed, M. 36, 206.
Spencer, D. A. 25, 26, 127,
129,
Speri, P. 97.
Spesnev, A. 226.
Spivey, T. S. 219.
Spitz, J. 97, 111.
Spotttshwoode, R. J 97, 127.,
194.
Sprenkmann 177.
Sproxton, V. 153
Staal, Victor 71
Stalin 150.
Stampfer 188.
Stannage, R. 202.
Stanislavsky 216
Stanwick, B. 26
Star Film 206.
Stark (von), W. 154.
Statens Filmcentral 204.
Stauffacher, F. Ill, 215
Stearns, M M. 15
Stech, J. 78.
Steeele, J. 131, 139.
Steen, H. 79.
Steer, V. 69, 233.
Steinbeck 227.
Steinbrmk, 0. 148.
Stella, V. 111.
Stemmle, R A. 69.
Stenbock, N. G. 79.
Stengel, C 221.
Stenzel, A 55, 177.
Stepun, F. 111.
Stern, S. 55, 206.
Stern, F. 172
Stern, H. 167
Sternberg 41, 45.
Sternberg, J. Ill
Sterner, A. P. 18, 25.
Sternfeld, F W. 111.
Sterzenbach, R. 163.
Stevenson, P. 218.
Stigler, R 188.
Stiller 46.
Stillman, J. D. B 188.
Stmdt, G. O. 97, 127, 129.
Stock, F. 1'39, 141
Stoddard, G. 149, 154.
Stolper 220.
Strock, K H. 163
Storck, K. 154.
Stout, W. W 79.
Strasser, A. 194
Strenkovsky, S. 128
Strentz, H. 104.
Strnad, J. 122, 128, 233.
Stroedecke, H. 128.
Stroheim (von), Erich 55,
57, 59, 65, 66, 102, 104,
206.
Strohm, L 24.
Strohm, W. 182.
Stromberg, 140.
Strong, D 23.
Strong, L. A. G. 139.
Struska 34.
Struss, L. H. 164.
Stueler, A. 194.
Sturtz, G. 139.
Suares, A. 111.
Suckdorff, Arne 107.
Sullivan, C G. 222.
Sulhvan, J. 202.
Suskin 134.
249
Svensk Filmindustn 55, 182,
206
Sverdlin 39.
Swanson, Gloria 77.
Swartz, W. G 136, 140.
Swift, Tom 39.
Szczensky, V. 172.
Szekely, S. 36, 128, 212.
Szots, I. 55
Szucs, A. 97, 140.
Tackmann, H 202
Taddel, N. 97, 167.
Talbot, F. A. 36, 140
Tallents, S. 233.
Talmadge, M. L. 79.
Talmey, A. 79.
Tamberlani, C. 140.
Tannebaum, H. 97.
Tarasev, D 220.
Tarazov 218.
Tarroni, E. 164
Tassel, G 188
Taylor, D. 31, 34, 36
Taylor, L. E 24.
Taylor, Robert 75.
Taylor, R. L 79.
Tedesco 104.
Teichmann, H. 120, 128.
Temple, Shirley 71, 80.
Temple, S. 79.
Teppe, J. 55.
Terlm, R R.
Terms, T. 140.
Terry, P. 43.
Terzi, C 111.
Testor, F. 140.
Teumssen, J. 55
Thall, E. 233
Theisen, E. 55
Thevenard, P. 188.
Thevenet, R. 202.
Thevenot, J. 17, 65, 68, 69.
Thielmann, E. 194.
Thirring, H 128.
Thomalla, C. 188.
Thomas, A. W. 140.
Thomas, C W. 24.
Thomas, F. C. 164.
Thomas, R. 146, 154.
Thomson, C. L. 128.
Thomson, N. Th 79.
Thornborough, L. 164
Thorp, M. F. 154.
Thrasher, F. M. 55, 164.
Thun, R. 123, 128, 189.
Thurstone, L. L. 152, 154.
Tichelli, K. 182.
Tichenor, F, A 149, 154, 182.
Tiesler, M. 164.
Tilgher, A. 97.
Tilton, W. 164.
Timmling, W. 25.
Timoschenko, S. 96.
Timpe, P. 79,
Tippy, W. 111.
Tiranty, U. 172
Tits, D. 164.
Tolcian, I. 128.
Tolmacev, V. B. 128.
Tolnaes, Gunnar 73, 79.
Tolomei, U. 97.
Tolstoi, L. 39.
Tootell, G. 140.
Toschi, G. 182.
Tosi, V. 29, 30, 36.
Toto 23.
Toto 226.
Tourkine, V. 36.
Tousley, V. H. 122, 128.
Toutam, R. 69.
Towers, H. A. 233.
Townes, M. E. 164.
Traub, H. 55, 140, 154, 209
Trauberg 221.
Travers, R. 225.
Travis, C, H 182.
Treatt, S. C. 69.
Treitel, R. 172.
Trenker, L. 69
Tretiakov, S. 154.
Trotta, V. 65, 69.
Truby, J 206.
True, L C. 140
Trumbo, D. 218.
Trutat, E 55.
Tschekowa, Olga 75.
Tucci, G. 55.
Turconi, D. Ill
Turner, P K. 128.
Turney, H. 128, 209.
Turkin, . K. 74, 76, 77, 80,
92.
Turpin, Ben 73.
Tuttle, H. B 194.
Tyler, P. 55, 154.
Tyrrel of Avon 167.
Tzara, T. 51
Ubeda, A. I. 97.
Uccello, P 118, 122, 128, 129,
140, 185, 189, 194, 212.
Uchatius (Freiherr von),
Franz 47, 51, 55.
Uchatms (F v.), F. 189.
Uchida, K. 203.
Ude, J. 154.
Ugoletti, U, 154
Ullmann, K. 98.
Ullmann, S. G. 80
Ulrich, C H. 129.
Ulrich, H 25.
Umbehr, H. 55, 129, 194, 212
U.N.E.S.G 0. 164, 207.
Urazov, I. 80.
Urban, Ch. 69, 207.
Urgiss, J. 80.
Usellmi, G. 220
U S. Film Service 209.
Vaccaro, G. 69
Vaessen, K. 56.
Vagne, J. 198.
Vain, G. 194.
Vaisfeld, J. 56, 80, 111.
Vale, E. 140.
Valente, A. 129.
Valentin, A. 16, 98.
Valentino, Rudolph 71, 73,
78, 79, 80.
Valentino, R. 80
Vamorelis 23'3
Vanco, B. 164.
Van den Wijngaert, F. 36.
Van der Mo sen, M. 17.
-Van der Rohe, M. 51.
Van Dyke, W. S. 69, 102.
Van Eyck, Toni 74.
Van Loan, H. 24, 140.
Van Zile, E. S. 25
Varese, C. 98.
Varnai, I. 140
Varzea (Balmaceda) E 233.
Vasicek, A. 164.
Vasile, T. 219.
Vassiliev, G. 220.
Vassihev, S. 220.
Vaucaire, M. 69
Vaughan, D 56.
Vavra, 0. 164, 211.
Vedres, N. 17, 36, 211.
Vellard, H. 129.
Velden (v. d.) G. 154).
Veliskova, H. 164.
Velman, S. 80
Venturing F. 56, 111.
Verdone, M. 25, 36, 43, 49,
56, 80, 98, 154, 164, 207,
209, 216, 225, 23*3.
Vergano, A 19, 225.
Vernona, A. 164.
Vertov, D. 98.
Vetchen, C. 69.
Vetter, A. 25.
Viany, A. 80.
Viazzi, G. 30, 43, 56, 85, 98,
103, 111, 211, 216, 221.
Victor Aaimatograph Cor-
poration 207.
Vidacs A 164
Vidal J. 112; 198.
Vidal, L. 56.
Vidor, King 40, 47, 52.
Vidor, K. 69, 233.
Viehweg, R. 194.
Vieth, H. 233
Vigneau, A. 25, 234.
Vigo, Jean, 43, 56.
Villa, E 98.
Villegas Lopez, M. 25, 36,
56, 234.
Vincent, C. 29, 36, 47, 56, 70,
80, 98, 112, 154, 164, 234.
Vinneuil, F. 152.
Vinogradscaia, K. 217, 234.
Vinten, W. 129.
Viola, V. 164.
Visconti, L 47, 54, 110.
Visconti, L. 226.
Visentini, G. 112.
Visnevsky, V. 36, 224
Vitouk, G. 56.
Vittorini, G. 69, 207
Vivie", J. 36, 129, 194.
Vlad, R. 112, 140.
Vlcek, V. '36, 57, 219, 234.
Vies, F. 189.
250
Voelger, H. 165.
Vogel, M. 189.
Vogt, H. 119, 125, 129.
Voigtlander 45.
Voizik 39.
Volkmer, 0. 57.
Volkanezkii 115, 129.
Volpicelli, L. 165.
Volz, R. 80.
Vossnessenkij 98.
Vreeland, F. 207.
Vriesman 26.
Vuillermoz, E. 16, 98.
Wagner, R L. 23, 70.
Wahl, L. 104.
Wain, G. 194.
Wald, J. ,207.
Waldau, Gustav 81
Waldenkranz, R. 36,. 234
^Waldner, D 129, 154.
Waley, H. D. 25, 26, 127,
129, 158.
Walker, R. M 140.
Wallace, E. 70
Walter, F. H. 140.
Waltuch, E 167.
Wamberg, H. 80.
Wanhau, G 234.
Warne, H. M. 21.
Warren, L. 37, 182
Warncke, H 140.
Warshow, 112.
Warstat, W 145, 154.
Wassermann, V. 139.
Watt, H. 224.
Watts, S. 1'32, 140, 203
Waugh, H. 182.
Wead, F W. 26, 37.
Weaver, G. C. 209
"Weber, F. 177.
Wedekmd 51.
Wegener, Paul 74, 76, 77.
Wegener, P. 98, 223.
Wehlau, K. 154.
Weigert 177.
Weiler, N, 123, 129.
Wemberg, H G 57, 112, 207,
234
Weinschenk, H E. 70, 80
"Weinstein, P. 49, 57, 150, 154,
165, 182.
Weinwuin, E 182
Weiser, M 189.
Weiss, E. 80.
Weisse,,K. 129.
Welles, Orson. 41, 42, 63.
Welles, O. 19, 220, 223.
Wellesbury, G. 223.
~Wells, H. G. 223, 226
Welsh, R. E. 6.
Weltman, S. 2'34.
Wendler, M. 70.
Wendt, E. 182.
Wenlg, J. 192.
Werder, P. 154, 234.
Werndorff, 0. F. 26
Werner, A. 222.
Werner, G. 112, 209.
Werner, I. 80.
Werth, H. 172.
Werz, L. 177.
Wery, P 234.
Wesse, C. 26
Wessem, G 57.
Wessely, P 75
West, G. 135, 140
Westbury, E. T. 129.
Westcott, H D. 141.
Weston, H. 141
Westphal, K. 203.
Wheeler, L J. 129.
Wheeler, 0. 194.
White, E. W. 57, 98.
White, M. 139, 141.
White, P. 80.
Widenborg, V. 129.
Widera, H. 182,
Wilcox, E. W. 234
Wild, A 154, 172.
Wild, R 80.
Wilder, B. 106.
Wilder, B. 218, 220, 221, 223,
226.
Wilhelm, T. D 225
Wilhelm, W 220, 225.
Willeke, C. 154.
Williams, A H. 173.
Williams, J D. 24.
Williams, R. E. 80.
Williamson, A. M. 81.
Williamson, J E 129
Wilents 1'34.
Wilms, F. 129.
Wilson, D. 80.
Wilson, E 57.
Wilson, N. 197, 234.
Wimperis, A 224.
Winchester, C. A. C. 26, 200,
203, 212.
Wing, A. D. 154.
Wing, R. 69.
Winkler, F. W. 194.
Wmkopp, C. G. 141.
Wmnmgton, R. 106, 112, 182.
Winsten, S. 70.
Winstrom, E. R. 234
Winter, M. 26.
Wise, H. A. 164.
Witt, G. A. 155, 165.
Wittelshofer 81.
Wohlbriick, Adolf 75.
Wohler, E. F. 179.
Wolf, K. 182.
Wolf-Czapek, K. W. 26, 37.
Wolfe, H. 120, 129.
Wolheim, L. 222.
Wollenberg, H. H. 26, 37,
129, 173
Wolter, K. 1,29.
Wolters, N.E. B. 129.
Wood, A. 70.
Wood, B. 165
Wood, L 37, 70, 81.
Woodard, H. 219.
Woodard, S. 219.
Woodhouse, J. S 221.
Woods, F. E. 69.
Woods, F E. 24.
Woon, B 70
Wootten, W. P. 57, 207.
Wortig, K 70, 155.
Wortzelms, H. 30, 57, 112
Wox T34.
Wrigel, M J. 165.
Wright, B. 214.
Wright, W L 141.
Wukitsevits, A. 182.
Wulff, T 141.
Wyler, W. 103.
Yesuitov, 57.
Young, D R 155, 173.
Young, G. 167.
Young, W. H 141.
Yukov, E. 219.
Yutkevich 38, 226.
Zaccagnini 26
Zaddach, G. 57.
Zagarelli 217.
Zavattim 56, 67.
Zavattini 49, 224, 226, 220.
Zecca, 37.
Zecchi, A. 112.
Zech 219.
Zehder, H. 26.
Zeiss 57.
Zeldovich, G. 81.
Zelewsky, A 177.
Zeljazskij, J 141
Zell, C (trad.) 19.
Zell, C. 203
Zevi, B 234
Zharki (Zarchi) n. 219, 221,
223.
Zhdan, V. 57.
Zhorzholiam, Sandro 72.
Ziersch, W. 81.
Zierold, K. 165.
Ziehen, L 234.
Zimet, J. 134.
Zimmar, B. 222.
Zimmereimer, K. 167.
Zimmermann, K. F. 129.
Zimmerscheid, K. 182.
Zinesi, G. 129.
Zisman, S. 165.
Zoellner, G. 70.
Zucca 219.
Zucker, P. 127, 129.
Zukor, A. 64.
Zukor, A. 21, 70.
Zuniga, A. '37.
Zuver, E. 141.
251
indice
Prefazione
Capitolo I : Opere General!
Capitolo II: La Storiografia
A - Trattati e studi di stona
B - Monografie storiche
C - Biografie, memorie, aneddoti
D - Biografie di atton
Capitolo III: L'Estetica - La Critica
A - Trattati e saggi di estetica
B - Saggi critici
Capitolo IV: La Tecnica
A - Tecnica degli impianti e dei matenah
B - Tecnica della lavorazione
Capitolo V : I Problejmi sociali e morali
A - Aspetti sociali in generate
B - II cinema educativo e didattico
C - La censura cinematografica
Capitolo VI : I Problem! giuiidici ed ecoinomici
A - Legislazione e problemi giuridici
B - Diritto d'atitore cmematografico
C - Question! economiche e industrial!
Capitolo VII : II Cinema e la Scienza
Capitolo VIII : II Formate ridotto e il Film d'Amatori
Capitolo IX : Documeniazione - Antologie
I : Dvawmentazwne
A - Documentazione vana
B - Annuari
C - Filmografie e cataloghi di film
D - Bibliografie e cataloghi di libri
H - Album e raccolte di fotografie da film
F - Dizionari e Filmlexikon
II : Antologie e Miscelltmee
Capitolo X : Soggetti e sceneggiature
Capitolo XI : Libri non classificati
Indice dei nomi
7
15
27
27
37
57
70
82
82
98
H3
115
130
142
144
155
165
168
168
173
177
183
190
195
196
198
203
207
210
211
213
217
228
235
Fimto di stampare dalla Tipogrufia P.U.G. a Roma il 24 Dicmbre 1953
per i tipi delle Ediziani dell'Ateneo, Roma, Via C<no Mario f 13
118462
