Works by Pioneers & Primary Sources

Many of the pioneers included in this resource produced their own writing and published content (film reviews, screenwriting manuals, novels, plays, illustrations, etc.). This bibliography is an expanding space for these different types of sources, which might not otherwise be included in the career profile’s bibliography (although some appear there as well). The following bibliography is by no means exhaustive and will be updated regularly.

A

Agadzhanova, Nina. “1905 god.” Sovetskii ekran 33 (1925): 3-4.

——. “Zametki o refleksakh v kino.” Kino-front 9-10 (1926): 13-14.

Agadzhanova-Shutko, Nina. “Kakovy dostizheniia?” Kino 46 (15 November 1927): 4.

Agadzhanova-Shutko, Nina F. “Otryvki iz stsenariia ‘1905 god.’” Kino-zhurnal A.R.K. 11-12 (1925): 5-6.

Akins, Zoe. “Adventures in Playwriting.” New York Times (25 September 1921): 68.

Anderson, Hans Christian. Die kleine Seejungfrau. Dettenhausen: Evang. Kirchengemeinde, 1980. [Illustrations by Lotte Reiniger].

Atherton, Gertrude Franklin Horn. Adventures of a Novelist. New York: Liveright, Inc., 1932.

——. California: An Intimate History. New York and London: Harper & Brothers, 1914.

B

Baird, Leah. “The Feminine Mind in Picture Making.” Film Daily (7 June 1925): 115-116.

Barker, Ellen Frye. The Art of Photoplay Writing. Colossus, 1917.

——. Successful Photo-Play Writing. New York: Frye Publishing Co., 1914.

Barry, Iris. “Actors Who Dream of Films.” Daily Mail (24 November 1927): 10.

——. “America’s Giant Cinema.” Daily Mail (21 November 1927): 10

——. “The Beggar’s Opera.” National Board of Review Magazine (June 1931): 11-13.

——. “Ben-Hur at the Tivoli.” Spectator (20 November 1926): 898.

——.“Ben-Hur at the Tivoli. Mademoiselle from Armetières at the Marble Arch Pavilion.” Spectator (13 November 1926): 43-4.

——. “A Brief History of the American Film, 1895-1938.” In Trois siècles d’art aux États-Unis. Paris: Éditions des Musées Nationaux, 1938. 97-101.

——.“The British Film Situation I: Decline and Fall.” Spectator (9 January 1926): 43.

——.“The British Film Situation II: The Plight and the Remedy.” Spectator (23 January 1926): 123-4.

——. “The British Film Weeks.” Spectator (2 February 1924): 171.

——. “British Film, The Quota and Reciprocity.” Spectator (24 April 1926): 755-6.

——. “The Challenge” [poem]. Included in C.A. Lejeune, “Can Piccadilly do Without Hollywood?” New York Times (24 August 1947): 32. [Original source London Observer, date unknown].

——. “Challenge of the Documentary Film.” New York Times Magazine (6 January 1946): 6-17, 46.

——. “A Challenge to Hollywood.” Harper’s Bazaar (July 1947): 41, 87.

——. “A Change for the Better.” Spectator (2 January 1926): 10.

——. “Christmas Films.” Spectator (19 December 1925): 1137-38.

——. “The Cinema.” Vogue [London] (February 1926): 53.

——. “The Cinema.” Spectator (18 June 1927): 1062-63.

——. “The Cinema: American Prestige and British Films.” Spectator (11 July 1925): 51-2.

——. “The Cinema: A Comparison of Arts.” Spectator (3 May 1924): 707.

——. “The Cinema: The Epic of Everest at the Scala.” Spectator (20 December 1924): 982.

——. “The Cinema: Greed–A Film of Realism.” Spectator (14 March 1925): 402.

——. “The Cinema: Hope Fulfilled.” Spectator (19 May 1924): 788.

——. “The Cinema: Laughter-Makers.” Spectator (19 September 1925): 444-5.

——. “The Cinema: Lesser Glories.” Spectator (6 March 1926): 415.

——. “The Cinema: Of British Films.” Spectator (14 November 1925): 870-71.

——. “Cinema Notes.” Spectator (2 August 1924): 158.

——. “Cinema Notes.” Spectator (18 April 1925): 502.

——. “Common Sense About Movies.” Journal of Adult Education 12 (April 1940): 191 -2.

——. “Cowboy Films for the ‘High brows.’” Daily Mail (10 August 1927): 8.

——. “Dante’s Inferno.” Spectator (31 January 1925): 152.

——. “A Diary for Timothy.” Film News  (November 1945): 20.

——. “Do – Everything Filmmakers.” Daily Mail (22 February 1927): 17.

——. “Documentary Film: Prospect and Retrospect.” Bulletin of the Museum of Modern Art 13 (1945): 2-5.

——. “The Documentary Film in War Time.” Unpublished ts. n.d., Museum of Modern Art, Film Study Center, Iris Berry Collection.

——. D.W. Griffith, American Film Master. New York: Doubleday, 1940.

——. “Fairbanks Triumphant.” Spectator (20 March 1926): 525.

——. “Farewell to Griffith.” Spectator (11 April 1925): 590.

——. “Faust.” Spectator (8 January 1927): 39.

——. “A Film of the American War of Independence.” Spectator (13 September 1924): 354.

——. “Film as a Recording Machine.” Saturday Review (12 August 1939): 12.

——. “Film Library, 1935-1941.” Bulletin of the Museum of Modern Art vol. 8, no. 5 (1941): 3-13.

——. “Film Notes – Part 1: The Silent Film.” Bulletin of the Museum of Modern Art 2-3 (1949): 1- 68.

——. “ The Film: A Review of Film History in a Cycle of Seventy Films” Art in Our Time. Exhibition catalog. New York: Museum of Modern Art, 1939: 335-48.

——. “The Film of Fact.” Town & Country (September 1946): 142, 253-4, 256.

——. “The Film Library and How it Grew.” Film Quarterly vol. 22, no. 4 (1969): 12-27.

——. “The Film Library and How it Grew.” ts. nd. Museum of Modern Art, Film Study Center, Iris Berry Collection.

——. “The Film and Reality.” Home and Food. n.d. Museum of Modern Art. Film Study Center, Iris Berry Collection.

——. “Films for the Empire.” Spectator (30 October 1926): 736- 7.

——. “Films for History.” Special Libraries 30 (1939): 258-60.

——. “Films Made on a Girder.” Daily Mail (23 April 1928): 21.

——. “Films the Public Want.” Daily Mail  (21 November 1925): 8.

——. “Films We Do Not Want.” Daily Mail (21 September 1926): 8.

——. “Foreign Coast.” New Yorker (16 September 1933): 46 -8.

——. “Foreword. The Film Index: A Bibliography.” The Film as Art. Vol 1. [For the WPA Writer’s Project]. New York: Museum of Modern Art and H.W. Wilson, 1941.

——. “From Caligari to Hitler.” [Review] New Republic (19 May 1947): 28-9.

——. “The German Film.” New Republic (19 May 1947): 28-29.

——. “The Gold Rush.” Calandar vol. 2, no. 8 (1925): 129 -31.

——. “A Guide to New Films.” Spectator (16 May 1925): 804-5.

——. Here is Thy Victory. London: Elkin Matthews and Marrot, 1930.

——. “History in the Movies.” National Board of Review Magazine (April 1941): 4-7.

——. “Hollywood’s English Colony.” Daily Mail (18 November 1927): 10.

——. “Hollywood is Not America.” Sunday Review (11 March 1934): 8-9.

——. “Hotel Imperial.” Spectator (29 January 1927): 147-8.

——. “Hunting the Film in Germany.” American-German Review (June 1937): 40-43.

——. “Jean Benoit-Levy: A Film Historian.” Documentary News Letter [London] 4 (1946): 11-13.

——. “The Last Laugh.” Spectator (28 March 1925): 497.

——. “Lecture Notes [1937-1938].” For “The History, Aesthetic and Technique of the Modern Picture.” Course taught by Iris Berry at Columbia University; ms. Museum of Modern Art, Film Study Center, Iris Berry Collection.

——. “Les Miserables.” Spectator (18 September 1926): 413.

——. Let’s Go to the Pictures. London: Payson and Clarke, Ltd., 1926.  Republished as Let’s Go to The Movies. New York: Arno Press/New York Times, 1972.

——. “Looking Backward Through Films.” Tricolor 3 (1944): 115-24.

——. “The Lure of the Films.” Daily Mail 9 (October 1925): 8.

——. “Manon Lescaut at the New Gallery.” Spectator (11 September 1926): 376.

——. “Metropolis.” Spectator (26 March 1927): 540.

——. “Michael Strogoff.” Spectator (5 February 1927): 184-85.

——. “Mons.” Spectator (25 September 1926): 471.

——. The Motion Picture: A Selected Booklist. Chicago: American Library Association, 1946.

——. “The Motion Picture 1914–1934.” Wadsworth Atheneum, Hartford, CT. 1934. Program notes for the ten-part screening program, “The Motion Picture 1914-34.” 28 October–30 December 1934. Wadsworth Atheneum, Hartford, CT.

——. “The Motion Picture.” In Art in America in Modern Times. Eds. Holger Cahill and Alfred H. Barr. New York: Reynal & Hitchcock, 1934. 91-3.

——. “Motion Picture in Adult Education.” Journal of Adult Education 7 (1940): 191-93.

——. “Motion Pictures as a Field of Research.” College Art Journal vol. 4, no. 4 (1945): 206-9.

——. “Museum Festival of Documentaries.” Film News (November 1945): 10.

——. “Music-Making Films: Will They Displace Orchestras?” Daily Mail (17 May 1927): 17.

——. “A National or International Cinema?” Bioscope (28 January 1924): 29.

——. “Nelson and Three Bad Men.” Daily Mail (4 October 1926): 8.

——. “The New Art.” Daily Mail (15 April 1926): 8.

——. “New Blood for British Films.” Daily Mail (17 December 1925): 7.

——. “Pity the Extras of Hollywood.” Daily Mail (1 November 1927): 10.

——. Portrait of Lady Mary. London: Hazell, Watson and Viney, Ltd., 1928.

——. “The Prince of Hollywood.” Daily Mail (23 March 1927):10

——. The Scientific Dream Book and Dictionary of Dreams. New York: Brewer, Warren & Putnam, 1932.  [Ghost-written with Alan Porter, as “Jonathan Westerfield”].

——. “Season of Poor Films.” Daily Mail (20 June 1927): 17.

——. Splashing into Society. London: Constable, 1923.

——. “This Week’s Films: Miss Beatrice Lillie on the Screen.” Daily Mail (6 June 1927): 17.

——. “Training for Film Work.” Daily Mail (21 June 1927): 17.

——. “We Enjoyed the War.” Scribner’s Magazine vol. XCVI, no. 5 (November 1934): 279-283.

——. “Why They Go to ‘The Pictures.’” Daily Mail (10 April 1928): 17.

——. “Why Wait for Posterity?” Hollywood Quarterly vol.1, no. 2 (1946): 132-133.

Bardeche, Maurice and Robert Brasillach. The History of Motion Pictures. Trans. Iris Barry. New York: W.W. Norton and the Museum of Modern Art, 1938.

Bauchens, Anne. “Cutting the Film.” In We Make the Movies. Ed. Nancy Naumberg. New York: Norton & Company, Inc., 1937. 199-215.

Belletti, Valeria, and Cari Beauchamp. Adventures of a Hollywood Secretary: Her Private Letters from Inside the Studios of the 1920s. Berkeley: University of California Press, 2006.

Beranger, Clara. “The Feminine Mind in Picture Making.” Film Daily (7 June 1925): 9. (Eve Unsell, Leah Baird).

——. “Motion Pictures as a Fine Art.” Theatre Magazine (May 1919): 300, 304.

——. Peace Begins at Home. Lee’s Summit: Unity School of Christianity, 1954.

——. “The Secret of Good Pictures.” In The Truth About the Movies, By the Stars. Ed. Laurence A. Hughes. Hollywood: Hollywood Pub., 1924. 392.

——. Writing for the Screen (with Story, Picture Treatment, and Shooting Script). Dubuque: W.C. Brown, 1950.

——. You Can Be Happy. New York: Samuel Curl, 1946.

Bernhardt, Sarah. Ma Double Vie: Mémoires de Sarah Bernhardt. Paris: Eugène Fasquelle, 1923.

Bertsch, Marguerite. How to Write for Moving Pictures: A Manual of Instruction and Information. New York: George H. Doran, 1917.

Blaché, Alice Guy. The Memoirs of Alice Guy Blaché. Ed. Anthony Slide. Trans. Roberta and Simone Blaché. Metuchen, NJ: Scarecrow Press, 1986.

——. “Woman’s Place in Photoplay Production.” Moving Picture World (11 July 1914): 195. Rpt. in Red Velvet Seat. Eds. Antonia Lant and Ingrid Periz. New York: Verso, 2006. 657-58.

Blackton Trimble, Marian. J. Stuart Blackton: A Personal Biography by His Daughter. Metuchen, NJ: Scarecrow Press, 1985.

Booth, Margaret. “The Cutter.” In Behind the Screen: How Films Are Made. Ed. Stephen Watts. London: A. Barker, Ltd., 1938. 149-50; Rpt. New York: Dodge Publishing Co., 1938. 147-53.

Boggs, Anita U. M. “Cultural Schools or Continuation Schools.” Pedagogical Seminary vol. 20 (January 1913): 71-77.

—. “Visualized Opportunity.” Pedagogical Seminary vol. 21 (January 1914): 445-53.

Borowsky, Kay. Und schon geht sie auf die Reise. 72 Gedichte. Tübingen: Heliopolis, 1982. [Illustrations by Lotte Reiniger].

“Bradley King and Her Story.” The Silver Sheet (1923): 19.

Brandeis, Madeline. Adventures in Hollywood. New York: Coward-McCann, 1937.

——. The All Wrong Book. Los Angeles, San Francisco: Suttonhouse, 1932.

——. Jack of the Circus. Chicago: The Reilly & Lee co., c. 1931.

——. Little Anne of Canada. New York: Grosset & Dunlap, 1931.

——. Little Carmen of the Golden Coast. New York: Grosset & Dunlap, 1935.

——. Little Dutch Tulip Girl. New York: Grosset & Dunlap, 1929.

——. Little Eric of Sweden. New York: Grosset & Dunlap, c. 1938.

——. Little Farmer of the Middle West. New York: Grosset & Dunlap, c. 1937.

——. Little Indian Weaver. New York: Grosset & Dunlap, 1928.

——. Little Jeanne of France. New York: Grosset & Dunlap, 1929.

——. Little John of New England. New York: Grosset & Dunlap, c.1936.

——. Little Mexican Donkey Boy. New York: Grosset & Dunlap, c. 1931.

——. Little Phillipe of Belgium. New York: Grosset & Dunlap, 1930.

——. Little Rosa of the Mesa. New York: Grosset & Dunlap, c. 1935.

——. The Little Spanish Dancer. New York: Grosset & Dunlap, 1936.

——. Little Swiss Woodcarver. New York: Grosset & Dunlap, 1929.

——. Little Tom of England. New York: Grosset & Dunlap, c. 1935.

——. Little Tony of Italy. New York: Grosset & Dunlap, c. 1934.

——. Mitz and Fritz of Germany. New York: Grosset & Dunlap, c. 1933.

——. Shaun O’Day of Ireland. New York: Grosset & Dunlap, 1929.

——. Six Face the World. Publisher unknown. c. 1938

——. Wee Scotch Piper. New York: Grosset & Dunlap, 1929.

——. Yankee Doodles Adventures, An American Fairy Tale. Los Angeles, San Francisco: Suttonhouse, c. 1932.

Breckinridge, Marvin. “Filming A New Africa.” Movie Makers (April 1935): 153, 172-3.

——. [as Mary Marvin Breckinridge Patterson]. My American Century. Marpat Foundation, 2006.

Brumberg, Valentina. “Kak ozvuchivaiutsia fil’my Disneia.” Kino (22 June 1935): 4.

——. “Zvukovaia mul’tiplikatsiia,” Proletarskoe kino 2 (March 1931): 63-64.

Brumberg, Zinaida. “Liubimaia rabota.” In Zhizn’ v kino: Veterany o sebe i svoikh tovarishchakh (part II). Ed. O. T. Nesterovich. Moscow: Isskustvo, 1979. 4-29.

Burton, Alice S. “A Woman’s Suggestion for Musical Scores.” Motion Picture News vol. 12, no. 2 (17 July 1915): 191. [See also Jay, Alice Smythe].

C

Carr, Catherine. The Art of Photoplay Writing. New York: Hannis Jordan, 1914.

Červenkova, Thea. “Film, jeho význam a národnost.” Československý film vol. 2, no. 6 (1 April 1919): 3.

Clarke, Edith. “Designing Clothes for the Movie Folk.” In Opportunities in the Motion Picture Industry: And How to Qualify for Positions in its Many Branches. Los Angeles: Photoplay Research Society, 1922. 79-82.

Coffee, Lenore. Another Time, Another Place. New York: Crown Publishers. 1956.

——. Storyline: Reflections of a Hollywood Screenwriter. London: Casell, 1973.

Colette. Colette at the Movies: Criticism and Screenplays. Ed. and introduction by Alain Virnaux and Odette Virnaux. Trans. Sarah W. Smith. New York: Frederick Ungar, 1980.

——. Lettres de la vagabonde. Eds. Claude Pichois and Roberte Forbin. Paris: Flammarion, 1989.

Condon, Mabel. “The City Universal.” New York Dramatic Mirror (5 Aug. 1916): 26-28, 32-36, 44. (covers Ruth Ann Baldwin, Eugenie Magnus Ingleton, Francelia Billington, Ruth Stonehouse, Cleo Madison, Lule Warrenton, Bess Meredyth)

——. “Sans Grease Paint and Wig.” [Adrienne Kroell] Motography vol. 8, no. 11 (23 November 1912): 403.

——. “Sans Grease Paint and Wig.” [Beverly Bayne] Motography vol. 8, no. 9 (26 October. 1912): 325.

——. “Sans Grease Paint and Wig.” [Francis Xavier Bushman] Motography vol. 8, no. 10 (9 November 1912): 351.

——.“Sans Grease Paint and Wig.” [William Russell] Motography vol.10, no. 5 (6 September 1913): 159-60.

“Confessions of a Scenario Editor.” Photoplay (August 1914): 164-168.

Corbaley, Kate. “Duties and Qualifications of the Scenario Reader.” In Opportunities in the Motion Picture Industry. Vol. 2. Los Angeles: Photoplay Research Society, 1922. 61-63.

——.  Selling Manuscripts in the Photoplay Market. Los Angeles: Palmer Photoplay Corporation, 1920.

Cowan, Sada. “What ‘Pull’ You Need To Get Into the Movies.” New York Amsterdam News (24 August 1932): 8.

Cunard, Grace. “Crowded out of Stardom.” New Movie Magazine (Feb. 1932): 38-39, 117.

——. [written under the pseudonym “The Master Pen”]. “Lucille Love, The Girl of Mystery.” Universal Weekly vol. 4, no. 15 (April 1914): 4-5, 16.

D

Davidson, Gladys. Ballet Stories for Young People. London, Cassell, 1959. [Illustrations by Lotte Reiniger]

DeMille, Beatrice. “The De Mille Family in Motion Pictures.” New York Dramatic Mirror (4 August 1917): 4.

Derain, Lucie. “Au pays de la peur.” Pour vous 434 (11 March 1937): 8.

——.  “Avec Milton-Bouboule, roi des resquilleurs.” Pour vous 114 (22 January 1931): 4.

——. “Broadway Melody. Film sonore et parlant d’Harry Beaumont raconté par Lucie Derain.” Cinémagazine 1 (January 1930): 64-71, 100-105.

——. Brûlador. Paris: Del Duca, 1957.

——. Carrousel de nuit. Paris: les Éditions de la Nouvelle France, 1946.

——. “Cinéma et poésie–Une Éternelle vedette: la nature.” Pour vous 112 (8 January 1931): 11.

——. “Coopération internationale – Le Congrès de Rome.” Pour vous 133 (4 June 1931): 2.

——.“Dolly macht Karriere.” Pour vous 105 (20 November 1930): 11.

——.“(Emil Jannings) à propos de: Liebling der Götter.” Pour vous 105 (20 November 1930): 11.

——. “G. Dolley, homme de théâtre, parle de cinema.” Pour vous 141 (30 July 1931): 11.

——. “Georg-Wilhelm Pabst (entretien).” Pour vous 137 (2 July 1931): 2.

——.“Il nous faut un grand acteur comique.” Pour vous 154 (29 October 1931): 3.

——. Jean Murat, l’homme à qui rêvent toutes les françaises. Paris: Nilsson, 1932.

——.“Jeunes filles en fleurs.” Pour vous 370 (19 December 1935): 14.

——. “L’Affiche de cinéma, oeuvre d’art ou chromo?” Pour vous 132 (28 May 1931): 8.

——. “L’Amour et le rêve.” Pour vous 385 (2 April 1936): 11.

——. “L’Art moderne à l’écran.” Cinémagazine 4 (27 January 1928): 35-36.

——.“L’Aventure d’un film.” In Vérités sur le cinéma français. Ed. Carlo Rim. Paris: Société des Éditions Modernes, 1945. [no pages indicated].

——. L’Aventurière de Biarritz. Paris: J. Tallandier, 1932.

——. “L’ Évolution du comique américain.” Cinémagazine 9 (14 June 1934): 14-16.

——.“La Faune du plaisir, ou… Nouvelles boîtes de jour et de nuit…” Vu 146 (31 December 193): 1452-1455.

——.“La Femme de trente ans.” Cinémagazine 49 (7 December) : 415-418.

——. “La Femme du plaisir ou… nouvelles boîtes de jour et de nuit.” Vu 146 (31 December 1930): 1452-1455.

——. L’Homme démaquillé. Paris: Fayard, 1959.

——.“L’ inconnue du quai de Béthune.” Fiction 12 (November 1954): 79-87.

——. “L’Inconstante.” Pour vous 129 (7 May 1929): 11.

——.“La Magie et le fantastique au cinéma.” Pour vous 120 (5 March 1931): 6.

——. “La Mode. La vogue des ensembles printaniers.” Cinémagazine 11 (14 March 1935): 11.

——. “La Piste des géants.” Cinémagazine 4 (April 1932): 30-32.

——. “La Reine de Saba, vivra-t-elle sous les traits de Mae West?” Cinémagazine 10 (21 June 1934): 5, 13.

——. La Vie en rose. Paris: J. Tallandier, 1931.

——.“La Vie des hommes illustres.” Pour vous 19 (28 March 1929): 11.

——.“La Vie miraculeuse de Thérèse Martin.” La cinématographie française 531 (5 January 1929): n.p.

——. “La Vie miraculeuse de Thérèse Martin.” La cinématographie française 531 (11 May 1929): n.p.

——. “La Ville au cinéma. Les poètes de la ville. Les beautés, les laideurs et le mystère des villes.” Cinémagazine 8 (22 February 1929): 319-321.

——. Le Dictateur. Paris: J. Melot, 1946.

——. “Le Film scientifique: les travaux de Jean Painlevé.” Cinémonde (15 October 1931): 666.

——. “Le Gala de La grande épreuve au ‘Paramount.’” Cinémagazine 18 (4 May 1928): 192.

——. Le Président ou la Mésalliance de la comtesse. Paris: J. Tallandier, 1929.

——.“Le Rebelle. Film raconté par Lucie Derain.” Cinémagazine 6 (June 1931): 43-46.

——. “Le Triomphe de Tartufe. Pauvre Chaplin.” Cinémagazine 10 (11 March 1927): 459-461.

——. “Les Affiches de cinéma-polychromie pour blanc et noir. ” Arts et Métiers graphiques 22 (1-5 March 1931): 201-205.

——. “Les Compositions. Masques et visages.” Cinémagazine 23 (8 June 1928): 377-380.

——. “Les Enfants du paradis.” L’Aurore (20 March 1945): n.p.

——. “Les Film du mois: Miss Lucifer, La plongée tragique, Le gosse du cirque, Une femme qui tombe, Les quatre diables, Tais-toi, mon cœur, Idylle havanaise, Deux films de Doublepatte et Patachon, Dans la rue, Convoi maudit, Le rapide de Sibérie, L’abîme, La femme sur la lune, La servante.” Cinémagazine 3 (March 1930): 81-86.

——. “Les Film du mois: Chant hindou, La fleur du désert.” Cinémagazine 4 (April 1930): 81, 84.

——. “Les Film du mois: Tragédies foraines, Pour son fils.” Cinémagazine 5 (May 1930): 76.

——.“Les Films sans luxe.” Cinémagazine 40 (7 October 1927): 9-11.

——. “Les Mendiants de la Vie.” La Cinématographie Francaise 582 (28 December 1929): n.p.

——. “Les Perles de la couronne.” La Cinématographie Française 967 (May 1937): n.p.

——. “L’Usine à fabriquer les voix… Au pays du doublage.” Cinémagazine 15 (26 July 1934): 6-7.

——. “M. Bernard Zimmer s’emporte et se passionne.” Pour vous 143 (13 August 1931): 11.

——. Mazurka. Paris: J. Tallandier, 1936.

——.“Mensonges. Film raconté par Lucie Derain.” Cinémagazine (June 1930): 49-56, 84-87.

——. “Mode en USA.” Cinémagazine 5 (17 May 1934): 8-9.

——. “Moments critiques, situations embarassantes.” Cinémagazine 6 (7 February 1935): 10.

——. “Mygale.” Lunatique 26 (February 1967): 16-21.

——. “Nos amis les animaux. Acteurs merveilleux et bons compagnons des artistes.” Cinémagazine 40 (5 October 1928): 9-12.

——. “On tourne Prix de beauté.” La Cinématographie Française 569 (28 September 1929): 33.

——. “Opinions d’un homme de théâtre.” Pour vous 117 (12 February 1931): 6.

——. “The Outsider.” Pour vous 139 (16 July 1931): 7.

——. “Parade d’amour. Film raconté par Lucie Derain.” Cinémagazine 3 (March 1930): 65-71.

——. “Premier soleil d’avril.” Cinémagazine 16 (17 April 1935): 20-21.

——. “Quelques mot sur Jean Epstein.” Pour vous 24 (2 May 1929): 9.

——. “Révélations en trois minutes.” Cinémagazine 27 (18 October 1934): 14.

——. Ris donc, Paillasse (Amours de clown). Paris: J. Tallandier, 1929.

——. “Ruth Weyher à Paris.” Cinémagazine 19 (11 May 1928): 232.

——. Sa vie m’appartient. Paris: J. Tallandier, 1931.

——. Sa vie m’appartient. Paris: Librairie Contemporaine, 1933.

——. “Toilettes de cinéma.” Cinémagazine 34 (26 August 1927): 327-330.

——. “Truquage de cinéma.” Pour vous 123 (26 March 1931): 14.

——.“Un grand décorateur: Lochavoff.” Cinéa-ciné pour tous 28 (1 January 1925): 16-17.

——. “Un tel père et fils.” La Cinématographie Française 1119 (13 April 1940): n.p.

——. “Un tel père et fils.” La Cinématographie Française 1121 (27 April 1940): n.p.

——. “Un trou dans le mur. Scénario raconté par Lucie Derain.” Cinémagazine (July 1930): 22-28, 62-63.

——. “Une étoile monte: Suzanne Cloutier. Propos recueilli par Lucie Derain.” Cinémonde  769 (2 May 1949): 5.

——. “Une vogue cinématographique. Parcs d’attractions, foires et carousels.” Cinémagazine 18 (4 May 1928): 173-176.

——. “Vampires et succubes, ou l’épouvante au cinéma.” Pour vous 150 (1 October 1931): 6.

Derba, Mimí. Realidades. México City: Tipografía F.E. Graue, 1921.

Dickson, Antonia. Edison’s Invention of the Kineto-Phonograph. 1894. Rpt. Los Angeles: Pueblo Press, 1939.

Dickson, Antonia, and W.K.L. Dickson. History of the Kinetograph, Kinetoscope, & Kinetophonograph. 1895. Rpt. Salem, NH: Ayer, 1984.

Dix, Beulah Marie. “An Essential of Writing.” In The Truth About the Movies by the Stars. Ed. Laurence A. Hughes. Hollywood: Hollywood Publishers, 1924. 397.

Donn-Byrne, Dorothea. “Bad Beginnings,” Redbook Magazine vol. 65, no. 2 (June 1935): 36-38, 39, 93-94.

——. “Eliza, Soldier of Fortune.” The Saturday Evening Post (6 May 1933): 12-13, 59-60, 62.

——. “The Grand National. Vogue (15 Mar. 1930): 60-63.

——. “Ireland in 1929.” Vogue (9 Nov. 1929): 94, 156, 158.

——.“An Irishwoman Looks at the Mode.” Vogue (15 Feb. 1930): 69, 134.

——. A Heart Between Two Rugs. London: Elkan Services, 19–. New York Public Library, Billy Rose Theatre Division.

——. The Land of the Stranger: A Kindly Comedy. London: Samson Low, Marston, 1931.

——. “The Turn of the Wheel.” The Saturday Evening Post (14 Oct. 1933): 14-15, 82-83, 85-86.

——, ed. Poems by Donn Byrne. London: Samson Low, Marston, 1934.

Dressler, Marie. The Life Story of an Ugly Duckling: An Autobiographical Fragment in Seven Parts. New York: McBride, 1924.

——. My Own Story/As Told to Mildred Harrington. Boston: Little, Brown and Co., 1934.

Duff Gordon, Lucy [“Lucile”]. Discretions and Indiscretions. New York: Frederick A. Stokes Co, 1932.

——. “The Last Word in Fashions.” Harper’s Bazaar (Dec. 1914): 34.

Dulac, Germaine. Germaine Dulac: Writings on Cinema (1919-1937). Ed. Prosper Hillairet.  Trans. Scott Hammen. Forward by Tami Williams. Paris: Eyewash Books Collection by Paris Expérimental, 2021.

——. Germaine Dulac: Écrits sur le Cinéma (1919-1937). Reprint. Ed. Prosper Hillairet. Paris: Paris Expérimental, 2021 [1994].

F

Fairfax, Marion. “The Feminine Mind in Picture Making.” Film Daily (7 June 1925): 9. Rpt. in Red Velvet Seat. Eds. Antonia Lant, and Ingrid Periz. New York and London: Verso, 2006. 655 [excerpted].

——.  “Our Industry.” In The Truth About the Movies by the Stars. Ed. Laurence A. Hughes. Hollywood: Hollywood Publishers, 1924. 35.

Fan, Xuepeng. “The Experience of Film Actress”/“一個電影演員的經歷.” People’s Daily/人民日報 (6 August 1960): 8.

——. “Memories of My Screen Life”/“我的銀幕生活的回憶.” China Films/中國電影. Vol. 2 (1956): 64-67.

“Feminine Sphere in the Field of Movies is Large Indeed, Says Clara S. Beranger.” Moving Picture World (2 Aug. 1919): 662; Rpt. in Red Velvet Seat. Eds. Antonia Lant, and Ingrid Periz. New York and London: Verso, 2006. 654.

Filene, Catherine. Careers for Women. Boston: Houghton Mifflin Company, 1920. [Motion Picture work section runs from 335-339.]

Filmer, Sabahat. Atatürk Yolunda Büyük Adımlar. Istanbul: Gül Matbaası, 1983.

Flaherty, Mrs. Robert J. [Frances Hubbard]. “The Camera’s Eye.” National Board of Review Magazine (April 1927): 4-5.

——. The Odyssey of A Film-Maker: Robert Flaherty’s Story. 1960. Rpt. Putney, Vermont: Threshold Books, 1984.

G

Gauntier, Gene. “Blazing the Trail.” Woman’s Home Companion (Oct. 1928): 7-8, 181-184, 186; (Nov. 1928): 25-26, 166, 168-170; (Dec. 1928): 15-16, 132, 134; (Jan. 1929): 13-14, 94; (Feb. 1929): 20-21, 92, 94, 97-98; (Mar. 1929): 18-19, 142, 146. Rpt. in Red Velvet Seat. Eds. Antonia Lant and Ingrid Periz. London and New York: Verso, 2006. 624-626 [first installment excerpt.]

——. “Blazing the Trail.” Unabridged typescript. Museum of Modern Art, Film Study Center.

——. “Blazing the Trail.” Online pdfs of Woman’s Home Companion: Blazing the Trail_1, Blazing the Trail_2, Blazing the Trail_3, Blazing the Trail_4, Blazing the Trail_5.

——. “Gauntier Players in Ireland.” Moving Picture World (14 Oct. 1913): 39.

——. “Picture Players at a Turkish Wedding.” Moving Picture World (20 July 1912): 253-254.

Gebhardt, Myrtle. “Business Women in Film Studios.” Business Women (Dec. 1923): 26-28, 66-68. (covers Ray Carroll, Milba Lloyd, Jeanie Macpherson, Olga Printzlau, Eve Unsell, Agnes Leahy, Elizabeth McGaffey, Clara Beranger, Winifred Dunn, Bradley King, Edith Wakeling).

Gish, Lillian. “Beginning Young: The Story of Lillian Gish.” Ladies’ Home Journal 42 (Sept. 1925): 19, 117-120; Rpt. in Red Velvet Seat. Eds. Antonia Lant and Ingrid Periz. New York and London: Verso, 2006. 623-624.

——. “In Defense of the Silent Film.” In Revolt in the Arts: A Survey of the Creation, Distribution and Appreciation of Art in America. Ed. Oliver Martin Sayler. New York: Brentano’s, 1930. 225-30.

——. “Lillian Gish…Director.” Interview with Anthony Slide. Silent Picture 6 (Spring 1920): 12-13.

——. “A Universal Language.” In The Theater and Motion Pictures: A Selection of Articles from the Encyclopædia Britannica. New York and London: Encyclopædia Britannica, 1929-33. 33-34.

Gish, Lillian and Ann Pinchot. Lillian Gish: The Movies, Mr. Griffith, and Me. Englewood Cliffs: Prentice-Hall, 1969.

Glyn, Elinor. Beyond the Rocks; A Love Story. London: Duckworth, 1906.

——. “Can women direct films?” Film Weekly (7 October 1929): 3.

——. The Great Moment. Philadelphia: J.B. Lippincott Co., 1923.

——. “In Filmdom’s Boudoir.” Photoplay (March 1921): 28-30. Rpt. in They Also Wrote for the Fan Magazines: Film Articles by Literary Giants from e.e. cummings to Eleanor Roosevelt, 1920-1939. Ed. Anthony Slide. Jefferson, N.C.: McFarland, 1992.  76-79.

——. “It.” Cosmopolitan. (Feb. and March 1927): n.p.

——. Man and Maid. Philadelphia: J.B. Lippincott Co., 1922.

——. The Price of Things. London: Duckworth & Co, 1919.

——. Romantic Adventure; Being the Autobiography of Elinor Glyn. London: Ivor Nicholson and Watson, Ltd., 1936.

——. “Sex and the Photoplay.” Motion Picture Magazine (June 1921): 21. Rpt. in They Also Wrote for the Fan Magazines: Film Articles by Literary Giants from e.e. cummings to Eleanor Roosevelt, 1920-1939. Ed. Anthony Slide. London: McFarland, 1992. 80-81.

——. Three Weeks. New York: Duckworth, 1907.

——. The Visits of Elizabeth. New York: J. Lane, 1901.

Green, Roger Lancelyn. King Arthur and His Knights of the Round Table. London, Puffin Books, 1953. [Illustrations by Lotte Reiniger].

Guinan, Texas. “My Life –And How!” New York Evening Journal (29 April- 25 May 1929): n.p.

——. “Texas Guinan Says.” [New York] Graphic (15 Sept. 1930-17 Oct. 1931): n.p. New York Public Library, Stephen A. Schwarzman Building.

H

Hall, Gladys. “Here Are the Movie Mommers!” Photoplay vol. 21, no. 1 (Dec. 1921): 77.

——. “Lamentations of a Lady Interviewer.” Photoplay vol. 21, no. 4 (March 1922): 82.

——.“Lights! Says Lillian!” Motion Picture Magazine (April-May 1920): 30-31, 102.

——. “Olga Petrova—A Film Feminist.” Filmplay (May 1922): 34-5.

——. “Once Upon a Time in Hollywood.” Undated notes for an unpublished autobiography. 3 pages. Gladys Hall papers, Academy of Motion Pictures Arts and Sciences, Special Collections.

——. “The Serious Side of the Woman on the Screen: Lillian Gish.” Filmplay vol. 2, no. 1 (July 1922): 20-21.

——. “The Serious Side of the Women of the Screen: Rita Weiman.” Filmplay vol. 2, no. 2 (Aug. 1922): 20-21.

Hall, Gladys, and Adele Whitely Fletcher. “We Discovered Who Discovered Valentino.” Motion Picture Magazine (Apr. 1923): 20-22, 93-95. (covers June Mathis)

——.“We Interview Gloria Swanson.” Motion Picture Magazine vol. 32, no. 3 (Oct. 1926): 28-29, 94-96, 107.

Happ, Alfred, and Lotte Reiniger. Lotte Reiniger: 1899 – 1981 Schöpferin Einer Neuen Silhouettenkunst. Tübingen: Kulturamt, 2004.

——. Lotte Reiniger: Schauspieler-silhouetten, Mozart-Opern, Andersen-Märchen: Aspekte E. Lebenswerks. E. Ausstellung Im Sommer 1982, Städt. Sammlungen. Tübingen: Kulturamt, 1982.

Hayward, Lydia. “Concerning Scenarios.” Bioscope (8 March 1928): 155.

——. “On Adaptation: Why A Story is Altered.” Bioscope (18 June 1927): 155.

Hilliker, Katherine. “The Scenario Editor and the Plotting Public.” Motion Picture Classic (Dec. 1917): 30-31, 66.

——. “Writing the Titles.” In Opportunities in the Motion Picture Industry. Vol. 2. Los Angles: Photoplay Research Society, 1922: 49-53.

Hochstetter, Gustav. Venus in Seide–Ein neues Liebesbrevier. Berlin: Eysler, 1919. [Illustrations by Lotte Reiniger].

Houston, Drusilla Dunjee. “Building the Home, The Companions of Our Children.” Oklahoma Black Dispatch (15 June 1922): n.p.

——. “The Days on Reconstruction.” Oklahoma Black Dispatch (29 October 1938): n.p.

——. “Spirit of the Old South: The Maddened Mob.” Unpublished screenplay (1909–1933). Private Collection.

——. Wonderful Ethiopians of the Ancient Cushite Empires, Book I. Oklahoma City, OK:  Universal Publishing Company, 1926.

——. Wonderful Ethiopians of the Ancient Cushite Empires, Origin of Civilization from the Cushites, Book II. Buffalo: Peggy Bertram Publishing, 2007.

Hurston, Zora Neale. “Fannie Hurst, by her ex-amanuensis.” Saturday Review of Literature 16 (9 October 1937): 15-16.

Hüsameddin, Sabahat. “Kadın Kalbi.” Edebiyat-ı Umumiye Mecmuası vol. 5 no. 104 (1919): 1308-1312. [Sabahat Filmer]

——. “Zehirli Kudret.” Edebiyat-ı Umumiye Mecmuası vol. 5, no. 110 (1919): 1401-1406.

J

Jay, Alice Smythe. “Can Too High Standard Be Placed on Musical Inspiration for Pictures?” Motion Picture News vol. 13, no. 11 (18 March 1916): 1670. [See also Burton, Alice]

——. “Roll for Music Interpretation.” Exhibitors Trade Review vol. 10, no. 18 (1 October 1921): 1274.

——. Letter. “What a Progressive Musician Has to Say.” Motion Picture News vol.19, no. 15 (12 April 1919): 2346.

Johnson, Osa. “Africans Rebel at Playing Slaves.” New York Times (17 Oct. 1937): 29.

——.  Bride in the Solomons. Boston: Houghton Mifflin, 1944.

——. I Married Adventure; The Lives and Adventures of Martin and Osa Johnson. 1940. New York: Morrow, 1989.

——.  Last Adventure: The Martin Johnson’s in Borneo. New York: William Morrow & Company, Inc., 1966.

Johnston, Agnes C. “The Comedy Scenario.” Moving Picture World (21 July 1917): 413.

K

King, Bradley. “How I Got Here.” Scenario Bulletin-Digest (1921): 24.

Kingsley, Grace. “Anita Stewart, Producer.” Los Angeles Times (5 Jan. 1919): III1.

——.  “Flashes.” Los Angeles Times (11 Dec. 1924): A11. (covers Adele Buffington)

——.  “Flashes.” Los Angeles Times (23 Dec. 1924): A11. (covers Adele Buffington)

——.  “Foreign Film Advice Given” Los Angeles Times (25 May 1932): A9. (covers Dorothy Farnum)

——.  “Little Journeys Around the Studios.” Motion Picture Director (Aug. 1926): 38.

——.  “Mary Pickford, Producer.” Los Angeles Times (8 Dec. 1918): III1.

——.  “Studio.” Los Angeles Times (12 February 1917): III19. (covers Elizabeth McGaffey)

——.  “The Wild Woman of Babylon.” Photoplay (May 1917): 80-82, 148. (covers Constance Talmadge).

Krasilovsky, Alexis. Women Behind the Camera: Conversations with Camerawomen. Westport, Conn.: Praeger, 1997.

Krüger, Hellmuth. Das Loch im Vorhang–Licht-und Schattenbilder aus dem Deutschen Theater. Berlin: Eysler, 1920. [Illustrations by Lotte Reiniger].

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Lakeston, Oswell. The Queen’s Mate. Lowestoft: Publisher unknown, 1962. [Illustrations by Lotte Reiniger].

Lant, Antonia, and Ingrid Periz, eds. Red Velvet Seat: Women’s Writings on the First Fifty Years of Cinema. London and New York: Verso, 2006.

Lawrence, Florence. “Growing up in the Movies.” Photoplay (Nov. 1914): 28-41; (Dec. 1914): 91-100; (Jan. 1915): 95-107; (Feb. 1915): 142-46.

Lejeune, C.A. “Arthur Joins the Film Wagon!” Screen Pictorial (Apr. 1939): 14-15, 36.

——. Chestnuts in Her Lap. London: Phoenix House, 1947.

——. Cinema. London: Alexander Maclehose, 1931.

——. “The Days of the West are Back!” Screen Pictorial (Aug. 1939): 20-21, 37.

——. “‘Eyes and No Eyes’: What to Look for in Films.” In For Filmgoers Only. Ed. R.S. Lambert. London: Faber & Faber, with the British Institute of Adult Education, 1934. 80-95.

——. “The Film as an Art Form.” Fortnightly Review (Jan 1943): 43-9; (Feb. 1943): 127-133); (Mar. 1943): 194-199.

——. “The Film: International Medium.” Theatre Arts vol.3, no. 1 (1942): 336-343.

——. “Film Report from London.” Theatre Arts 30 (May 1946): 663-666.

——. “Film We Could Do Without.” Guardian (27 May 1922): 7.

——. “Films You Ought to See.” Sight & Sound (Spring 1932): 25.

——. “Humoresque.” Rev. Observer (7 Jul. 1947): 2.

——. “Korda’s Three.” Screen Pictorial (Sept. 1938): 20-21, 38.

——. “Laughton.” Screen Pictorial (Sept. 1938): 20-1, 61.

——. “Making Movies Amid the Blitz.” New York Times Magazine (11 May 1941): 15, 24.

——. “Me to Myself.” Theatre Arts Monthly (Feb. 1939): 82-83.

——. “Muni—A Fugitive From Life.” Picturegoer (21 Apr. 1934): 10-11.

——. “On Footage.” Guardian (15 July 1922): 7.

——. “On Mixing the Arts.” Guardian (8 July 1922): 9.

——. “On Naturalism.” Guardian (30 Sept. 1922): 7

——. “Qualities of the Good Lay Critic.” Guardian (4 Feb. 1922): 7.

——. “The Private Lives of London Films.” Nash’s Pall Mall Magazine [London] (Dec. 1936): 108-117; (Jan. 1937): 96-104; (Feb. 1937): 98-104.

——. “Stick to Your Hobbies: A Message to All Boys and Girls.” Teachers World & School Mistress [London] (11 March 1936): 1051.

——. “Stronheim the Craftsman.” In Hollywood Scapegoat: The Biography of Erich von Stronheim. Ed. Peter Noble. [1950]. Rpt. New York: Arno, 1972: 187 – 90.

——. “The Test of Truth.” Guardian (25 Feb. 1922): 9.

——. Thank You for Having Me. London: Hutchinson, 1964.

——. “Two English Films.” In Theatre Arts Anthology. Eds. Rosamund Gilder et al. New York: Theatre Arts Bookshop, 1950. 564-569.

——. “The Week on the Screen: The Women.” Manchester Guardian (16 Jan. 1926): 9.

——. “What the Public Wants.” Guardian (18 Mar. 1922): 7.

Levien, Sonya. “New York’s Motion Picture Law.” American City 9 (1912): 319-21.

——. “The Screen Writer.” In Careers for Women.  Ed. Catherine Filene. Boston: Houghton Mifflin Company, 1920. 433-37.

Lewis, Ray. “All About Myself [part 1].” Canadian Moving Picture Digest (13 August 1927): 4, 6.

——. “All About Myself [part 2].” Canadian Moving Picture Digest (20 August 1927): 4, 10-11.

Lofting. Hugh. Der böse Gutsherr und die guten Tiere. Berlin: Williams & Co., 1930. [Illustrations by Lotte Reiniger].

Loos, Anita. Cast of Thousands. New York: Grosset & Dunlap, 1977.

——. Fate Keeps on Happening: Adventures of Lorelei Lee and Other Writings. London: Harrap, 1984.

——.“The Feminine Mind in Picture Making.” Film Daily (7 June 1925): 9, 113, 115-16.

——. Gentlemen Prefer Blondes: The Illuminating Diary of a Professional Lady. 1925. New York: Penguin. 1998.

——.  A Girl Like I. New York: Viking Press, 1966.

——. “I Like ‘em When They’re Bad. Good Bad Pictures and Those Just Bad.” Theater Magazine (July 1927): 41.

——.  “In Defense of Hollywood: Prominent Figures in the Film World Rise to Refute the Exaggerated Reports of Motion Picture Morals.” Filmplay (May 1922): 21.

——. Kiss Hollywood Good-by. New York: Viking Press, 1974.

——. The Talmadge Girls: A Memoir. New York: Viking Press, 1978.

——. “Women Do A Lot for the Screen, Anita Loos Says, Besides Act on It.” New York Herald Tribune (16 Sept. 1940): 24, 30.

Loos, Anita, and John Emerson. Breaking into the Movies. New York: James A. McCann Co., 1921.

——. How to Write Photoplays. New York: McCann, 1920.

——.  “Photoplay Writing.” Photoplay (Feb. 1918): 51-52; (Mar. 1918): 53-54; (Apr. 1918): 81-82; (May 1918): 81-82; (June 1918): 78-79; (July 1918): 88-89, 121.

Loos, Anita, Cari Beauchamp, and Mary Loos. Anita Loos Rediscovered: Film Treatments and Fiction. Berkeley: University of California Press, 2003.

Loos, Anita, and Lillian Montanye. “The Play’s the Thing (‘But Collaboration Between Author and Director is Just the Thing.’ Say Anita Loos and John Emerson).” Motion Picture Magazine (April 1918): 66-7, 123.

Lorimer, Enid. “The Cinema and Education.” Bioscope (1 Nov. 1917): 23.

——. “Film Criticism and the Lay Press.” Bioscope (8 Feb. 1917): 537.

Loring, Jane. Interview with W.H. Mooring. “Women as Directors.” Film Weekly (1 Nov. 1935): 7.

Lovett, Josephine. Scenarios for Classmates, Our Modern Maidens, Our Dancing Daughters, The Single Standard. What Women Wrote –Scenarios, 1912-1929. Cinema History Microfilm Series, with index. Eds. Ann Martin and Virginia M. Clark. Frederick, MD: University Publications of America, 1987.

Lytton, Grace. Scenario Writing Today. Boston and New York: Houghton Mifflin Company, 1921.

M

Maas, Frederica Sagor. The Shocking Miss Pilgrim: A Writer in Early Hollywood. Lexington, Ky.: University Press of Kentucky, 1999.

MacDonald, Margaret. “Alice Brady Talks About Dress and Make-Up.” Moving Picture World (21 July 1917): 426.

——.  “Mary O’Connor Illuminates Studio System While Angling for New Ideas.” Moving Picture World (26 June 1920): 1737.

MacDonald, M.I. “Miss Pearl White to Become Aviator.” Moving Picture News (12 Oct. 1912): 19.

MacDonald, Margaret I. “Mrs. Mary Lawton Metcalfe Gives the Moving Picture First Place as an Educator.” Moving Picture News vol. 4, no. 43 (28 October 1911): 6-7.

McDonald, Margaret I. “Clara Kimball Young Discusses Picture Art.” Moving Picture World (21 July 1917): 461.

——. “Norma Talmadge a Modern Female.” Moving Picture World (21 July 1917): 390.

Manning, Mary. “Bongo-Bongo.” Motley (Christmas 1933): 13-16.

——. “The Dietrich.” Motley (Dec. 1932): 13-15.

——. “Dublin-Cum-Elstree.” Irish Statesman (30 Nov. 1929): 254-56.

——. “The Dublin Film Society.” Letter. Irish Statesman (4 Jan. 1930): 352.

——.“The Fairchild Family at the Films.” Motley (Nov. 1933): 12-14.

——. “Farewell to Silence.” Irish Statesman (12 April 1930): 116-17.

——. “The Films, 1933-34.” Motley (Christmas 1933): 16-17.

——. “Hail Veidt!” Motley (March 1933): 10-12.

——. “Hollywood in Dublin.” Irish Statesman (14 Sept. 1929): 34

——. “In Defense of the Talkies.” Irish Statesman (20 July 1929): 388-89.

——. “’Juno,’ ‘Disraeli’ and the Peacocks.” Irish Statesman (29 March 1930): 74-76.

——.“Kameradschaft.” Motley (Nov. 1932): 9-1.

——. “Mary Manning.” In Enter Certain Players: Edwards-MacLiammóir and the Gate 1928-1978. Ed. Peter Luke. Dublin: Dolmen Press 1978. 35-39.

——.“Million Dollar Brains.” Motley (Jan. 1933): 14-15.

——. “More Propaganda” Motley (Oct. 1933): 13-15.

——. “Running Wild!” Motley (Oct. 1932): 11-12.

——.“A Silent Interlude.” Irish Statesman (28 Sept. 1929): 72-73.

——. “Sound and Sensibility.” Irish Statesman (19 Oct. 1929): 134.

——. “South Seas Synchronised.” Irish Statesman (25 Jan, 1930): 419-20.

——.“Super!” Irish Statesman (14 Dec. 1929): 300-01.

——. “The Voice of Ireland.” Motley (Feb. 1933): 14-15.

——. “What is the Wild West Saying?” Irish Statesman (22 Feb. 1930): 496-98.

——. “Why Not a Repertory Cinema?” Motley (Sept. 1932): 14-15.

Marion, Frances. How to Write and Sell Film Stories. 1937. Rpt. New York: Garland Pub., 1978.

——. Off with Their Heads: A Serio-Comic Tale of Hollywood. New York: Macmillan, 1972.

——.  “Scenario Writing.” In Behind the Screen: How Films Are Made. Ed. Stephen Watts. London: Arthur Barker, Ltd., 1938.

——. “Why Do They Change the Stories on the Screen?” Photoplay (March 1926): 38-39, 144-45.

Marion, Frances, with Mary B. Mullet. “Frances Marion: A Girl Who Has Won Frame and Fortune Writing Scenarios.” American Magazine (May 1924): 18-19, 126-7, 134-6.

Marsh, Mae. Screen Acting. Los Angeles: Photostar Pub. Co., 1921.

Mathis, June. “Elements of a Screen Story.” In The Truth About the Movies by the Stars. Ed. Laurence A. Hughes. Hollywood: Hollywood Publishers, 1924. 378-79.

——. “European-Made American Pictures.” Motion-Picture Director (Feb. 1925): 7, 30-31.

——.  “The Feminine Mind in Picture Making.” Film Daily (7 June 1925): 115; Rpt. in Red Velvet Seat. Eds. Antonia Lant and Ingrid Periz. New York and London: Verso, 2006. 663-665.

——.“Harmony in Picture-Making.” Film Daily (6 May 1923): 5. Rpt. in Red Velvet Seat. Eds. Antonia Lant and Ingrid Periz. New York and London: Verso, 2006. 662-663.

——. “June Mathis Confers with Ibanez on Four Horsemen of the Apocalypse.” Moving Picture World (17 Jan. 1920): 431.

——. “Pursuing a Motion Picture Plot.” The Photo-Play Journal (Oct. 1917): 24.

——. “Symbolism in the Silent Drama.” Motion Picture Director (Dec. 1925): 31-32.

——.“Tapping the Thought Wireless.” Moving Picture World (21 July 1917): 409.

——. “The ‘Wave Length’ of Success.” Motion Picture Director (Feb. 1927): 22.

——. “Women’s Work in Motion Pictures.” Motion Picture Magazine (Aug. 1923): 28.

Mayo, Margaret. “Entertain Your Audiences.” New York Times (11 Sept. 1910): X5.

——. Our Fate and the Zodiac: An Astrological Autograph Book. New York: Brentano’s, 1901.

——. Trooping for the Troupes: Fun-Making at the Front. New York: George H. Doran Company, 1919.

McGilligan, Patrick. Backstory: Interviews with Screenwriters of Hollywood’s Golden Age. Berkeley: University of California Press, 1986.

Meredyth, Bess. “Screen Plays-the New Technique.” Story World (Feb. 1925): 28.

Metcalfe, Mary Lawton. “The Captain’s Treasure: Mental Films for a Picture Story.” Moving Picture News vol. 4, no. 52 (20 December 1911): 17.

——. “Carolina Belle.” Rev. Talking Picture Magazine vol. 1, no. 3 (December 1929): 19.

——. “First Impressions of Living Pictures–The Manufacture of Mental Films–How to Project Memory Pictures: Scientific Principles of Psychology in Human Reproduction.” Moving Picture News vol. 4, no. 44 (4 November 1911): 14-15.

——. “Moving Pictures Aid in Education.” Moving Picture News (21 September 1912): 19.

——.“A Practical Plan for Teaching Without Books.” Moving Picture News vol. 4, no. 49 (9 December 1911): 6.

——. “‘Real-I-Zation’ and the Cosmos.” Washington Times (23 November 1917): 20.

——. “Snapshots—Women’s Views of Vital Interest to Moving Picture Trade.” Moving Picture News vol. 7, no. 16 (13 April 1913): 23.

——. “Snips and Snaps of News by a Peripatetic Camera.” Moving Picture News vol. 5, no. 21 (25 May 1912): 28-29.

Mitchell, Dorothea. “After Silver Mountain.” Undated and signed recollection. 2 pages. Private Collection.

——. Lady Lumberjack. Vancouver: Mitchell Press Limited, 1967.

——. “A Race for Ties (Its Inception).” Unpublished notes, c. 1963. 5 pages. Thunder Bay Historical Museum Society, Thunder Bay, Ontario, Canada.

Moon, Lorna. The Collected Works of Lorna Moon. Ed. Glenda Norquay. Edinburgh: Black and White Publishing, 2002.

Mörike, Eduard. Mondscheingärten. Gütersloh: Ertelsmann Lesering o. J., 1963. [Illustrations by Lotte Reiniger].

Murfin, Jane. “The Feminine Mind in Picture Making.” Film Daily (7 June 1925): 9.

——.  “Sex and the Screen.” In The Truth About Movies by the Stars. Ed. Laurence A. Hughes. Hollywood: Hollywood Publishers, 1924: 459-61; Rpt. in Red Velvet Seat. Eds. Antonia Lant and Ingrid Periz. London and New York: Verso, 2006. 666-667.

——. “Trained by Kindness.” Los Angeles Times (11 June 1924): A4.

N

Naumburg, Nancy, ed. We Make the Movies. New York: Norton, 1937.

Nielsen, Asta. Den tiende Muse. 2 vols. Copenhagen: Gyldendal, 1945-1946.

Normand, Mabel. “Myself–by the Seaside.” Pictures and the Picturegoer (8 Aug. 1914): 547-548.

Norden, Martin F. Lois Weber: Interviews. Jackson, M.I.: University Press of Mississippi, 2019.

O

Osborne, Florence M. “Why Are There No Women Directors?” Motion Picture Magazine vol. 30, no. 4 (Nov. 1925); Rpt. In Red Velvet Seat. Eds. Antonia Lant and Ingrid Periz. London and New York: Verso, 2006. 665-666.

Otten, Karl. Der ewige Esel. Zürich: Atlantis-Verl, 1949. [Illustrations by Lotte Reiniger].

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Park, Ida May. “Motion-Picture Work: The Motion-Picture Director.” In Careers for Women. Ed. Catherine Filene. Boston: Houghton Mifflin Co., 1920. 335-337; Rpt. in Red Velvet Seat. Eds. Antonia Lant and Ingrid Periz. New York and London, Verso, 2006. 660-662.

Parsons, Louella O. “Essanay Days.” Theatre Arts (July 1951): 33.

——. The Gay Illiterate. Garden City, NY: Doubleday, Doran and Co., 1944.

——. How to Write for the ‘Movies.’ Chicago: McClurg, 1915.

——. “John. S. Robertson.” Interview. Morning Telegraph (5 Nov. 1922): 4. (covers Josephine Lovett)

——. “A Message to Scenario Writers.” The Art of Photoplay Writing. New York: Hannis Jordan, 1914: 116-119.

——. “Seen on the Screen.” Regular columns. Chicago Herald and Chicago Tribune, 1915-1918.

——. Tell it to Louella. New York: Putnam, 1961.

Parsons, Louella O., with Monte M. Katterjohn. “Thumbnail Biographies.” Photoplay (Sept. 1914): 116.

Patterson, Frances Taylor.“The Author and Hollywood.” North American Review vol. 244, no. 1 (Sept. 1937): 77-89.

——. Cinema Craftsmanship; A Book for Photoplaywrights. New York: Harcourt, Brace and Howe, 1921.

——, ed. Motion Picture Continuities. 1929. Rpt. New York: Garland Pub., 1977.

——. “A New Art in an Old University.” Photoplay (Jan. 1920): 65, 124.

——. “On the Lot with Lois Weber.” Photoplay (Oct. 1917): 89-91.

——. Scenario and Screen. New York: Harcourt, Brace and Company, 1928.

Peary, Gerald and Karyn Kay. “Interview with Dorothy Arzner.” In The Work of Dorothy Arzner: Towards a Feminist Cinema. Ed. Claire Johnston. London: British Film Institute, 1975. 19-29.

Petrova, Olga. Butter with My Bread. Indianapolis: The Bobbs-Merrill Company, 1942.

——.  “Mme. Petrova Interviews Theda Bara.” Shadowland (March-April 1920): 43-44, 74.

Pickford, Mary. “Ambassadors.” The Saturday Evening Post (23 Aug. 1930): 6-7, 117.

——.“The Feminine Mind in Picture Making.” Film Daily (7 June 1925): 9.

——.  “Greatest Business in the World.” Collier’s (10 June 1922): 7-8, 22-3.

——.  “Mary is Looking for Pictures.” Photoplay (June 1925): 39, 109.

——. “Moving Pictures.” Mary Pickford: Daily Talks. The McClure Newspaper Syndicate (7 Dec. 1915): n.p.

——. “My Own Story.” Ladies’ Home Journal (Sept. 1923): 9.

——.“Pickfordisms for Success.” In Opportunities in the Motion Picture Industry. Vol. 2. Los Angeles: Photoplay Research Society, 1922. 93-98.

——. Sunshine and Shadow. Garden City, NY: Doubleday, 1955.

——. “Writing Scenarios.” Mary Pickford Daily Talks. The McClure Newspaper Syndicate (7 Dec. 1915): n.p.

Printzlau, Olga. “Virtue vs. Vice.” Motion-Picture Director (May 1925): 15.

R

Radinoff, Florence. The Photoplaywright’s Handy Text Book. New York: Manhattan Motion Picture Institute, 1913.

Rakhmanova, Ol’ga. “B.V.Chaikovskii.” Kino-nedelia 42 (18 November 1924): 7.

Rambova, Natacha. Rudy: an Intimate Portrait of Rudolph Valentino. London: Hutchinson & Co., 1926.

Rambova, Natacha, and Mrs. Richard Hudnut. Rudolph Valentino (Recollections) Intimate and Interesting Reminiscences of the Life of the Late World-Famous Star. New York: Jacobsen-Hodgkinson-Corporation, 1927.

Reboux, Paul. Diet for Epicures. Trans. Iris Barry. New York: Brentano’s, 1932.

Reeve, Winnifred Eaton [Onoto Watanna]. “Amoy, A Chinese Girl.” Woman’s Home Companion (Nov. 1900): 7-8.

——.“Because We Were Lonely.” True Story (April 1933): 28-30, 92-96.

——. “The Betrothal of Otoyo.” Smart Set (Dec. 1900): 95-97.

——.“The Bride of Yonejiro.” Metropolitan Magazine vol. 15, no. 5 (1902): 603-07.

——. “Butchering Brains: An Author in Hollywood Is as a Lamb in an Abattoir.” Motion Picture Magazine vol. 36, no. 2. (September 1928): 28-29, 110-111.

——. “The Canadian Spirit in Our Literature.” Calgary Daily Herald (24 March 1923): n.p.

——. Cattle. Toronto: Musson, 1923.

——. “A Contract.” Frank Leslie’s Popular Monthly vol. 54, no. 4 (1902): 370-79.

——.“Count Oguri’s Quest.” Smart Set (Dec. 1902): 143-47.

——. “A Daughter of Two Lands.” Red Book Magazine (Nov. 1909): 33-48.

——. “Delia Dissents.” Saturday Evening Post (Aug. 1908): 22-23.

——. The Diary of Delia: Being a Veracious Chronicle of the Kitchen, with Some Side-Lights on the Parlour. New York: Doubleday, Page & Company, 1907.

——. “The Diary of Dewdrop.” Smart Set (June 1903): 37-42.

——. “Elspeth.” Quill (Jan. 1923): 23-30.

——.“Every-day Life in Japan.” Ladies’ Home Journal (Oct. 1904): 500-03, 527-28.

——. “Eyes that Saw Not.” Harper’s Monthly (June 1902): 30-38.

——. “A Father.” Conkey’s Home Journal (Jan. 1900): 9-10.

——. “A Half-Caste.” Frank Leslie’s Popular Monthly (Sept. 1898): 489-96.

——. “The Half-Caste.” Conkey’s Home Journal (Nov. 1900): 10.

——. “The Happy Lot of Japanese Women.” Metropolitan Magazine vol. 15, no.2 (1902): 234-37.

——. The Heart of Hyacinth. New York: Harper, 1904.

——. “His Interpreter.” Woman’s Home Journal (Sept. 1899): 9-10.

——. “His Interpreter.” Woman’s Home Journal (Oct. 1899): 11-12.

——. His Royal Nibs. New York: W.J. Watt & Co., 1925.

——. “Honorable Movie Takee Sojin.” Motion Picture Classic Magazine (March 1928): 37, 72.

——.“How Frenchmen Make Love.” Motion Picture Magazine (June 1929): 50, 116.

——. “I Could Get Any Woman’s Husband!” Motion Picture Classic Magazine (March 1929): 21, 80.

——. A Japanese Blossom. New York: Harper & Bros. 1906.

——. “Japanese Drama and the Actor.” Critic (Sept. 1902): 231-37.

——. A Japanese Nightingale. Melbourne: Victoria Wildwood Publishing, 1902.

——. “Japanese War News by Word O’ Mouth.” Metropolitan Magazine vol. 20, no. 1 (1904): 139-41.

——.“Karo.” Conkey’s Home Journal (May 1898): 4-7.

——. “Kirishima-san.” Idler (Nov. 1901): 315-21.

——. “Lend Me Your Title.” MacLean’s Magazine (Feb. 1919): 13-14, 72-74; (March 1919): 16, 18-19, 66-69.

——. “The Life of a Japanese Girl.” Ladies’ Home Companion (April 1899): 7.

——. The Love of Azalea. London: Stevens & Brown, 1904.

——.“The Loves of Sakura Jiro and the Three Headed Maid.” Century Magazine (March 1903): 755-60.

——. “Maneuvers of O-yasu-san.” Saturday Evening Post (Jan. 1908): 9-22.

——. “Margot.” Frank Leslie’s Popular Monthly vol. 53, no. 2 (1901): 202-09.

——. Marion: The Story of an Artist’s Model. New York: W.J. Watt & Company, 1916.

——. “The Marriage of Jinyo.” Red Book Magazine (Feb. 1912): 740-44.

——. “The Marriage of Okiku-San.” Red Book Magazine (June 1910): 254-63.

——. “The Marvelous Miniature Trees of Japan.” Woman’s Home Companion (June 1904): 16-17

——. Me: A Book of Remembrance. New York: Century Co., 1915.

——. “Miss Lily and Miss Chrysanthemum.” Ladies’ Home Journal (Aug. 1903): 11-12.

——. Miss Numè of Japan: A Japanese-American Romance. Chicago and New York: Rand, McNally & Company, 1899.

——. “Miss Perfume.” Smart Set (April 1902): 79-84.

——. Miss Spring Morning. Chicago: The Story-Press Corp., 1915.

——. “A Neighbor’s Garden, My Own, and A Dream One.” Good Housekeeping (May 1908): 485-90.

——.“New Year’s Day in Japan.” Frank Leslie’s Popular Monthly (Jan. 1900): 283-86.

——. “Ojio-San: A Noble’s Daughter.” American Home Journal (March 1898): 142-44.

——. “An Oriental Holiday.” Conkey’s Home Journal (Dec. 1900): 12-13.

——. “Other People’s Troubles: An Antidote to Your Own.” Farm and Ranch Review [serialized Feb.-March 1919].

——. “The Pot of Paint.” Frank Leslie’s Popular Monthly vol. 53, no. 4 (1902): 414-24.

——. “Prince Sagaritsu’s Patriotism.” American Home Journal (Feb. 1898): 107-26.

——. “A Rhapsody on Japan.” Conkey’s Home Journal (July 1900): 13.

——. “Royal and Titled Ranchers in Alberta.” Montreal Daily Star (30 Aug. 1924): n.p.

——. “Shizu’s New Year’s Present.” Conkey’s Home Journal (Jan. 1899): 4-5.

——. “Starving and Writing in New York.” MacLean’s Magazine (Oct. 1922): 66-67.

——.“The Story of Ido: How a Japanese Half-Caste Came into His Own.” Conkey’s Home Journal (Aug. 1899): 7-8.

——. Sunny-San. London: Hutchinson & Co., 1922.

——. Tama. London: Forgotten Books, 1910.

——. “Tokiwa: A Tale of Old Japan.” Red Book Magazine (May 1911): 49-57.

——.“Two Converts.” Harper’s Monthly (Sept. 1901): 585-89.

——. “Where the Young Look Forward to Old Age.” Ladies’ Home Journal (Feb. 1899): 8.

——.“The Wickedness of Matsu.” Smart Set (May 1900): 137-40.

——. “The Wife of Shimadzu.” Smart Set (May 1902): 141-47.

——. The Wooing of Wisteria. New York: Harper & Bros, 1902.

——. “The Wrench of Chance.” Harper’s Weekly (Oct. 1906): 1494-96.

——. “An Unexpected Grandchild.” Lippincott’s Monthly (Dec. 1909): 689-96.

——. “Yoshida Yone, Lover.” Smart Set (Feb. 1902): 133-38.

Reeve, Winnifred Eaton, and Sara Bosse. Chinese-Japanese Cook Book. Chicago and New York: Rand McNally, 1914.

Reeve, Winnifred Eaton, and K. Kato. The Honorable Miss Moonlight. New York: Harper & Bros, 1912.

Reeve, Winnifred Eaton and Kiyokichi Sano. Daughters of Nijo; A Romance of Japan. New York: Grossett & Dunlap, 1904.

Reiniger, Lotte. “The Adventures of Prince Achmed, or What May Happen to Somebody Trying to Make a Full-Length Cartoon in 1926.” Silent Picture no. 8 Autumn (1970): 2-4.

——. “Ballet Stories in Silhouettes: “Ondine,” “Sleeping Beauty,” “Swan Lake,” and “Cinderella.” Cut-outs specially made by Lotte Reiniger for The Illustrated London News (December 1960): pg. nos. unknown.

——. “Bewegte Silhouetten.” Figurentheater vol. 9, no. 2 (1968): pg. nos. unknown.

——. Das gestohlene Herz. 33 Bilder aus dem Scherenschnittfilm von Lotte Reiniger mit einer Ezählung der Entstehung und des Inhalts. Ed. Herbert Just. Tübingen: Publisher unknown, 1972.

——.“Das Papier als Filmdarsteller.” In Eine Chronik des Papierberufs [with supplement on history of Ferdinand Flinsch GmbH] Berlin: F. Flinsch, 1935. 117.

——. Das Planetenbuch. [Gebundenes Heft mit neun Original-Linoldrucken] Rome: Publisher unknown, 1942.

——. “Das rollende Rad. Eine Geschichte des Fahrzeugs in Scherenschnitten. ”Atlantis 6 (June 1934): pg. nos. unknown. [Silhouettes by Lotte Reiniger].

——. Die Abenteuer des Prinzen Achmed. Neueauflage der Ausgabe von 1972. Mit einem Vorwort von Walter Schobert. London und München: Publisher unknown, 1995.

——. “Die Geschichte meines Prinzen Achmed.” Der Filmspiegel vol. 5 (1926): pg. nos. unknown.

——. Die Jagd nach dem Glück. Gebundenes Heft mit Text und 35 Scherenschnitten. Berlin: Publisher unknown, 1929. [Published in catalogue, “Szenen einer Freundschaft.” London and Münchne, publisher unknown, 1994.]

——. “Die lebenden Schatten.” Gießener Anzeiger (5 June 1929): pg. nos. unknown.

——. “Die lebenden Schatten.” Westfälischer Merkur (19 June 1929): pg. nos. unknown.

——. “Film as Ballet.” Life and Letters Today vol. 14, no. 3 (Spring 1936): 157-163.

——. “Filmhelden aus Papier.” Der Deutsche Sender (18 October 1935): pg. nos. unknown.

——. “Filmhelden aus Papier.” General-Anzeiger (March 1936): pg. nos. unknown.

——.  “Gespräch mit Christoph Hummel.” Kirche und Film vol. 34, no. 2 (February 1981): pg. nos. unknown.

——. “ll Principe Achmed” Cinema no. 112 (1941): pg. nos. unknown.

——. “Intervisa a Lotte Reiniger registrata a Torino il 24 aprile 1980.” Interview by Alfio Basiancichi. In Lotte Reiniger by Gianni Rondolino. Turin: Centro Internazionale per il Cinema di Animazione, 1982. pg. nos. unknown.

——. Interview with Jean Pierre Roda and Pierre Jouveanceau. Banc Titre no. 13 (June 1980): pg. nos. unknown.

——. “Kleine Geschichte des Balletts in Scherenschnitten von Lotte Reiniger.” Atlantis 9 (September 1955): pg. nos. unknown. [Silhouettes by Lotte Reiniger].

——. “Lebende Schatten.” In Film-Photos wie noch nie. Ed. Edmund Bucher and Albrecht Kindt. Giessen: Kindt & Bucher, 1929. 45.

——. “Lotte Reiniger et les ombres chinoises.” Interview with Léo Bonneville. Séquences (July 1975): 25-31.

——. “Meinem lieben Günther zu seinem achtzigsten Geburtstag.” In Günther Wasmuth zum achtzigsten Geburtstag. Tübingen: Wasmuth, 1968. pg. nos. unknown.

——.“Moving Shadows.” Film Art vol. 3, no. 8 (Spring 1936): 14-18.

——. “Puss in Boots” and “Thumbelina.” Cut-outs specially made by Lotte Reiniger for The Illustrated London News (December 1959): pg. nos. unknown.

——. “The Rake’s Progress.” Cut-outs specially made by Lotte Reiniger for The Illustrated London News (December 1962): pg. nos. unknown.

——. “Schattenspiele im Film.” Rheinische Landeszeitung (7 April 1936): pg. nos. unknown.

——. Schattentheater Schattenpuppen Schattenfilm: Eine Anleitung. Tübingen: Texte Verlag, 1981.

——. “Schatten und Silhouetten – mein Beruf.” Meister der Puppenspiels: Lotte Reiniger no. 34 (1976): pg. nos. unknown.

——. “Scherenschnitte warden lebendig.” Breslauer Neueste Nachrichten (19 January 1929): pg. nos. unknown.

——.“Scissors Make Films.” Sight & Sound vol.5, no. 17 (Spring 1936): 13-15.

——. Shadow Puppets, Shadow Theatres and Shadow Films. Boston: Plays, Inc, 1975.

——. Shadow Theatres and Shadow Films. London: Batsford, 1970.

——. “The story of pantomime and how this Christmas show evolved.” Cut-outs specially made by Lotte Reiniger for The Illustrated London News (December 1962): pg. nos. unknown.

—— [with Carl Koch]. “Unser Metier.” In The Technique of Film Animation. Eds. John Holm and Roger Manvell. London: Hastings House, 1959. 279-286.

——. “Wie ich den Film Die Abenteuer des Prinzen Achmed machte.” Prager Presse (3 September 1926): 7.

——. “Wie ich meine Silhouettenfilme mache.” In Das Kulturfilmbuch. Ed. Edgar Beyfuss and A. Kossowsky. Berlin: C.P. Chryselius, 1924. 205.

——. “Wie ich zum Scherenschnittfilm kam.” Daheim (November 1926): pg. nos. unknown.

——. “Wie macht man einen Silhouettenfilm.” Jugend Film Fernsehen no. 2 (1973): pg. nos. unknown.

——. “Zarte, Schattende Gebilde. Lotte Reiniger über ihren neuen Schattenfilm (= “der Liebestrank”).” Silberspiegel vol. 7, no. 24 (2 November. 1942): pg. nos. unknown.

Reiniger, Lotte, and Margit Downar. Lotte Reiniger, Silhouettenfilm Und Schattentheater: 2. Juni-17. August 1979, Ausstellung Des Puppentheatermuseums Im Münchner Stadtmuseum. München: Lipp, 1979. [exhibition catalogue].

Reinger, Lotte, Wolfgang A. Mozart, and Alfred Happ. Mozart, Die Grossen Opern in Scherenschnitten. Tübingen: Heliopolis, 1987.

Reinger, Lotte, Emanuel Schikaneder, Lorenzo Da Ponte. Mozart: Les Grands Opéras. Paris: Impr. nationale, 1989.

Reville, Alma. “Cutting and Continuity.” The Motion Picture Studio (13 January 1923): 10.

Rinehart, Mary Roberts. “Face and Brains.” Photoplay (Feb. 1922): 47-48, 107; Rpt. in They Also Wrote for the Fan Magazines: Film Articles by Literary Giants from e.e. cummings to Eleanor Roosevelt, 1920-1939. Ed. Anthony Slide. London: McFarland, 1992. 121-128.

——. “How About the Movies.” Ladies’ Home Journal (June 1921): 21, 77, 79-80.

——. “My Experience in the Movies.” American Magazine (Oct. 1920): 18-20, 76, 78.

Robeson, Eslanda. Paul Robeson, Negro. New York: Harper and Bros., 1930.

Romoli, Kathleen M. “Apuntes sobre los pueblos autóctonos del litoral colombiano del Pacífico en la época de la conquista española.” Revista Colombiana de Antropología 16 (1963): 373-479.

——. Balboa of Darién: Discoverer of the Pacific. Garden City, N.Y: Doubleday, 1953.

——. Colombia, Gateway to South America. Garden City, N.Y: Doubleday, Doran, 1941.

——. “El Alto Chocó en el siglo XVI. Parte II. Las gentes.” Revista Colombiana de Antropología 20 (1975): 25-78.

——. “El descubrimiento y la primera fundación de Buenaventura.” Boletin de Historia y Antiguedades vol 69, no. 567-569 (1962): 113-122.

——. “El suroeste del Cauca y sus indios al tiempo de la conquista española, según documentos contemporáneos del distrito de Almaguer.” Revista Colombiana de Antropología 12 (1963): 259-290.

——. Undici Anni: Di Fascismo Attraverso La Parola Del Duce. Milano: O. Marangoni, 1934.

Royer, Fanchon. “Across the Silver Screen.” Story World and Photodramatist (August 1923): 82.

——.“Another Jolt.” Camera! (17 September 1921): 5.

——.“Fanchon Royer.” In Book of Catholic Authors. Ed. Walter Romig. Vol. 6. Grosse Pointe, MI: Walter Romig Publisher, 1960. 302-308.

——. “Today’s Picture.” Camera! (9 October 1920): 3.

——. “To You.” Camera! (20 May 1922): 3.

Russell, L. Case. “Here Lies,” Containing Fifty Themes That Are Now Forbidden, Fifty “Donts” “Manufactured Plots,” and a Sample Photoplay Complete. Brooklyn, NY: Photoplay Clearing House, 1914.

——. The Photo-Playwrights Primer. Brooklyn, NY: The M.P. Pub. Co., 1915.

——. “You Mustn’t Ask to Vote.” New York Times (8 May 1912): 10.

S

Scott, Mrs. Dukinfield H [Henderina Victoria Scott]. “Animated Photographs of Plants.” Journal of the Royal Horticultural Society 32 (1907): 48-51.

——. “Animated Photographs of Plants.” Knowledge & Scientific News (May 1904): 83-86.

Scott, Rina. “On the Movements of the Flowers of Sparmannia africana, and their Demonstration by means of the Kinematograph.” Annals of Botany vol. 17, no. 68 (Sept. 1903): 761-777.

Shipman, Nell. Abandoned Trails. New York: Dial Press Inc., 1932.

——. Kurly Kew and the Tree-Princess A Story of the Forest-People, Told for Other People. New York: L. MacVeagh, 1930.

——.  “Me” Photoplay 15 (3 Feb. 1919): 47-8.

——. “The Movie That Couldn’t Be Screened (Parts 1-3).” Atlantic Monthly (Mar. 1925): 326-32; (Apr. 1925): 477-82; (May 1925): 645-51.

——. “This Little Bear Went Hollywood.” Good Housekeeping (Jan. 1931): 30-31.

——. The Silent Screen & My Talking Heart: An Autobiography. 1987. Rpt. Idaho: Boise State University, 2001.

Shub, Esfir’ I. “Neigrovaia fil’ma.” Kino i kul’tura  (6 August 1929): n.p.

——. Krupnym planom. Iskusstvo: Moscow, 1959.

——. “Na postupakh k vtoroi piatiletke.” Proletarskoe kino (28 March 1932): n.p.

——. “Proidennyi put’.” Sovetskoe kino (November – December 1934).

——. “Vvodnaia zapiska.”Iskusstvo kino (November 1960).

——. “Vmesto predisloviia.” Iskusstvo kino (November 1964).

——. Zhizn’ moia – kinematograf/My Life – Cinema. Moscow: Iskusstvo, 1972.

Slide, Anthony. “An Interview with Margery Wilson.” The Silent Picture (Spring 1973): 17-24.

Starr, Cecile. “Invisible Women.” Sight & Sound vol. 49, no. 4 (Autumn 1980): 245-247.

Stewart, Anita. The Devil’s Toy. New York: E.P. Dutton & Company, Inc., 1935

——.“My Life Story.” Motion Picture Magazine (June 1925): 40-42, 120-121.

St. Johns, Adela Rogers “The Fan-Letter Bride.” Photoplay (August 1922): 71+

——. “Get Me Dorothy Arzner!” Silver Screen (Dec. 1933): 22-24, 73.

——. “Guinan of the Guns.” Photoplay (Aug. 1919): 60.

——. The Honeycomb. Garden City, NY: Doubleday, 1969.

——. How to Write a Story and Sell It. Garden City, NY: Doubleday, 1956.

——. “The Last Straw.” Photoplay (May 1922): 27+

——. Love, Laughter and Tears: My Hollywood Story. Garden City: Doubleday, 1976.

——.“The One Genius in Pictures: Frances Marion, She is the One of Hollywood’s Six Greatest Women.” Silver Screen (Jan. 1934): 22-23, 53-54.

——. “Our One and Only Great Actress.” Photoplay (Feb. 1926): 58. (covers Norma Talmadge)

——. “The Private Life of Marie Dressler.” Liberty (13 May 1933): 20-25; (20 May 1933): 10-15; (27 May 1933): 32-37; (3 June 1933): 32-38.

——. Some Are Born Great. Garden City, NY: Doubleday, 1974.

——. “Why do Great Lovers Fail as Husbands?” Photoplay (July 1927): 28-30, 116-117

Stopes, Marie. “The Unsuspected Future of the Cinema.” The New East vol. 3, no. 1 (1918): 26-28.

Swanson, Gloria. Swanson on Swanson. New York: Random House, 1980.

——.“There is No Formula for Success.” Photoplay (April 1926): 32-33, 117-119.

——. “A Week with the Star: Wednesday.” Photoplay (Nov. 1921): 48-49.

——. “What is Love?” Photoplay (Nov. 1924): 28-30, 123.

T

Talmadge, Norma. “Close Ups: An Autobiography.” Saturday Evening Post (12 Mar. 1927): 6-7; (26 Mar. 1927): 26-7; (9 Apr. 1927): 30-33; (7 May 1927): 34-5; (May 1927): 41-3; (25 June 1927): 43-6.

——. “How Men Strike Me.” Photo-Play Journal (Mar. 1919): 9.

Tamzali, Haydée. Images Retrouvées. Tunis: Maison Tunisienne de l’Edition, 1992.

Tanaka, Kinuyo et al. “Eiga ni okeru josei no tachiba: Zadankai.” Kinema junpō 283 (April 1961): 65-68. Rpt. in Alejandra Armendáriz-Hernández and Irene González-López, “Roundtable: the Position of Women in Post-War Japanese Cinema (Kinema junpō, 1961).” Film Studies 16 (Spring 2017): 36-55.

Tanaka, Kinuyo. Tanaka Kinuyo kikigaki. 1975. Rpt. Kyoto: Kyoto Bunka Hakubutsukan, 1997.

——.“Tanaka Kinuyo.” 1975. Rpt. in Watakushi no rirekisho: Joyū no unmei. Ed. Kobayashi Shunta. Tokyo: Nihon Keizai Shinbunsha, 2016. 289-387.

Tayar, Eliane. “Avec Jean Dehelly, le jeune ‘poilu’ de Verdun.” Pour vous 137 (2 July 1931): 4.

——. “Nadia Sibirskaïa, une bûcheuse.” Pour vous  145 (27 August 1931): 11.

——. “Nane Germon, ma sœur.” Pour vous 267 (28 December 1933): 7.

——.“Pourquoi nous avons tourné Versailles.” Pour vous  260 (9 November 1933): 7.

——. “Quand j’étais assistante de Carl Dreyer.” Le Courrier cinématographique 49 (6 December 1930): 11; 50 (13 December 1930): 16; 51 (20 December 1930): 16-17; 52 (3 January 1931): 33-34; 53 (10 January 1931): 15; 54 (17 January 1931): 22; 56 (31 January 1931): 21; 57 (7 February 1931): 23-24; 8 (21 February 1931): 17-18. Partially reprinted in Dreyer, Carl Th. Réflexions sur mon métier. Paris: Cahiers du Cinéma, 1997. 169-181.

——.“Quelques clairs secrets du ‘Vampire.’” Pour vous  205 (20 October 1932): 11.

——. “Quelques nouvelles comparaisons entre la réalité et la fiction.” Pour vous  293 (28 June 1934): 7.

——. “Quelques visages du passé tels qu’ils furent et tels que l’écran les représente.” Pour vous  290 (7 June 1934): 8.

——. “Un Maître de la lumière: ‘Rudy’ Maté.” Pour vous  269 (11 January 1934): 4.

——. “Une Soirée scandinave avec Marita Angeles.” Pour vous 143 (13 August 1931): 6

Tildesley, Beatrice. “Australia’s Contribution to the Arts.” United Empire: The Journal of the Royal Empire Society vol. 20, no. 1 (January 1929): n.p.

——. “The Cinema in Australia.” The Australian Quarterly 8 (December 1930): 89-103.

——. “The Cinema and Broadcasting in Australia.” The Australian Quarterly 24 (December 1934): 129-36.

——. “Film Production in Australia.” The Australian Quarterly 26 (June 1935): 39-46.

——. “International Aspects of the Cinema.” The Australian Quarterly 21 (March 1934): 107-111.

Townshend, Gladys Ethyl Gwendolen Eugenia Sutherst. It Was – and It Wasn’t. London: J. Long Ltd., 1937.

——. “Interview with the Marchioness Townshend.” The Bioscope (30 July 1914): 429-431.

Townshend, Gladys Ethyl Gwendolen Eugenia Sutherst and Maude Ffoulkes. True Ghost Stories. London: Hutchinson & Co.,1936.

Turnbull, Margaret. The Close-Up. New York: Harper & Bros, 1918.

U

Unsell, Eve. “The Feminine Mind in Picture Making.” Film Daily (7 June 1925): 113, 115.

——. “The ‘Routine’ of Film Adaptation.” In Cinema Craftsmanship: A Book for Photoplaywrights. Ed. Frances Taylor Patterson. New York: Harcourt, Brace and Howe, 1921. 86-95.

W

Wanderwell, Aloha. Call to Adventure! New York: Robert M. McBride, 1939; Rpt. as Aloha Wanderwell: Call to Adventure. Ed. Alan Boyd. Orange County: Nile Baker Estate, 2013.

Wang, Hanlun. “How I Began My Film Career”/“我入影戲界之始末.” Cinema Magazine/電影雜誌 (Autumn 1925): n.p.

——. “My Experience with the Cinema”/“我的從影經過.” Chinese Cinema/中國電 影  no. 11 (1956.): n.p. Rpt. in Remembering the Old Days/感慨話當年. Wang Hanlun et al.  Beijing: China Film Press, 1962. 50-59.

——. “My Experience with the Cinema”/“我的從影經過.” Chinese Cinema/中國電 影   no. 2 (1956.): n.p.; Rpt. in Chinese Silent Cinema/中國無聲電影. Ed. Xiaolain Dai. Beijing: China Film Press, 1996. 1471-77.

——. “Remembrance from the Film Studios”/“影場回憶錄.” Young Companion/良友 no. 64 (1929): n.p.; Rpt. in The Companion Pictorial: 1926-1945/良友人物: 1926-1945. Eds. Cheng Peide, Gao Yuanbao and Yang Yang. Shanghai: Shanghai Social Science Press, 2004. 107-113.

Weber, Lois. “The Hand That Rocks the Cradle: The Original Continuity.” Film History vol. 1, no. 4 (1987): 343-366.

——. “How I Became a Motion Picture Director.” Static Flashes (24 Apr. 1915): 8; Rpt. in Red Velvet Seat. Eds. Antonia Lant and Ingrid Periz. New York and London, Verso, 2006. 658-660.

White, Eric Walter. Walking Shadows–An Essay on Lotte Reiniger’s Silhouette Films. London: The Hogarth Press, 1931. [Illustrated by photos of Lotte Reiniger’s shadow film figures].

——. Wander Birds. Bristol: Publisher unknown, 1934. [Illustrations by Lotte Reiniger].

——. The Little Chimney Sweep. Bristol: White & White,  1936. [Illustrations by Lotte Reiniger].

White, Pearl. “Always Just Escaping Death.” Pictures and Picturegoer (21 July 1918): 111.

——. Just Me. New York: George H. Doran Co., 1919.

——. “Putting It Over.” Motion Picture Magazine (Feb. 1917): 61-62.

——. “Why I like to Work for Uncle Sam.” Pictures and Picturegoer (5 Oct. 1918): 343.

Williams, Maria P. My Work and Public Sentiment. Kansas City: Burton Publishing, 1916.

Wilson, Margery. Dolores del Rio. Thumb Prints of the Famous. Los Angeles: Chimes Press, 1928.

——. Douglas Fairbanks. Thumb Prints of the Famous. Los Angeles: Chimes Press, 1928.

——. How to Make the Most of Wife. Philadelphia: J.B. Lippincott Co., 1947.

——. I Found My Way: An Autobiography. Philadelphia: Lippincott, 1956.

——. The Woman You Want to Be: Margery Wilson’s Complete Book of Charm. Philadelphia: J.B. Lippincott Company, 1942. [Note: Originally published as Charm by Margery Wilson, 1928].

Winthrop Sargent, Epes, Jeanie Macpherson and Lloyd Lonergan. “A Screenwriting Sampler from The Moving Picture World.” Film History vol. 9, no. 3 (1997): 269-276.

Y

Yezierska, Anzia. “A Hungry Heart and–$10, 000.” Literary Digest (24 Oct. 1925): 44, 46, 48; Rpt. in The Red Velvet Seat. New York and London: Eds. Antonia Lant and Ingrid Periz. New York: Verso, 2006. 643-648.

——. “This is What $10, 000 Did to Me.” Hearst’s International–Cosmopolitan (Oct 1925): 40-41, 154. Rpt. in The Red Velvet Seat. New York and London: Eds. Antonia Lant and Ingrid Periz. New York: Verso, 2006. 643.

Yost, Dorothy. Prodigal Lover. New York: Greystone Press, 1937.

Z

Zahorska, Stefania. Dzieje malarstwa polskiego/A History of Polish Painting. Warsaw: Wiedza o Polsce, 1932.

——. Korzenie/Roots. Warsaw: Gebethner i Wolff, 1937.

——. Matejko. Warsaw: Gebethner i Wolff, 1925.

——. Ofiara/Victim. London: Społeczność Akademicka U.S.B., 1955.

——. “Smocza 13/13 Smocza Street.” London: Nowa Polska, 1945. [play].

——. Stacja Abbesses/Abbesses Station. London: Oficyna Poetów i Malarzy na Emigracji w Anglii, 1952.

——. Szczęśliwe Oczy: Wybór Studiów Z Dziedziny Filozofii, Historii I Krytyki Sztuk Plastycznych Z Lat 1921-1960. London: Polska Fundacja Kulturalna, 1970. Ed. Stanisław Frenkiel. Polska Fundacja kulturalna. London 1970.

——. Warszawa–Lwów 1939/Warsaw-Lvov 1939. London: Oficyna Poetów i malarzy, 1952.

——. Wybór pism, reportaże, publicystyka, eseje/Selected Letters, Essays and Journalism. Warsaw: IBL 2010.

——. Ziemia pojona gniewem/Earth Soaked in Anger. London: B. Świderski, 1961 [Published posthumously.]