Daniel Biltereyst is Professor in Film and Media Studies at Ghent University, Belgium, where he is also director of the Centre for Cinema and Media Studies (CIMS). His work deals with issues of media historiography, media controversy, and audience’s media engagements. Richard Maltby is Matthew Flinders Distinguished Professor of Screen Studies at Flinders University, South Australia. A Fellow of the Australian Academy of the Humanities, he has published extensively on the cultural history of Hollywood, and has edited seven books on the history of cinema audiences, exhibition, and reception.Philippe Meers is Professor in Film and Media Studies at the University of Antwerp, Belgium, where he chairs the Center for Mexican Studies and is deputy-director of the Visual and Digital Cultures Research Center (ViDi). He has published widely on historical and contemporary film culture and audiences.

• Introduction: The scope of new cinema history, Daniel Biltereyst, Richard Maltby and Philippe MeersPART 1. Reflections and commentsIntroduction: the scope of new cinema history, Daniel Biltereyst, Richard Maltby, and Philippe MeersPART I. Reflections and comments1. Connections, intermediality, and the anti-archive: a conversation with Robert C. Allen, Richard Maltby and Philippe Meers2. Film history, cultural memory, and the experience of cinema: a conversation with Annette Kuhn, Daniel Biltereyst3. How I became a new cinema historian, Melvyn Stokes4. The subject of history and the clutter of phenomena, John Caughie5. The new nontheatrical cinema history?, Gregory A. WallerPART II. Challenges and opportunities6. Reading newspapers and writing American silent cinema history, Richard Abel7. Arclights and zoom lenses: searching for influential exhibitors in film history’s big data, Eric Hoyt8. Comparing historical cinema cultures: reflections on new cinema history and comparison with a cross-national case study on Antwerp and Rotterdam, Daniel Biltereyst, Thunnis van Oort and Philippe Meers9. The archaeology of itinerant film exhibition: unpacking the Brinton Entertainment Company Collection, Kathryn Fuller-Seeley 10. Cinema history as social history: retrospect and prospect, Judith ThissenPART III. Distribution and trade11. Early film stars in trade journals and newspapers: data-based research on global distribution and local exhibition, Martin Loiperdinger12. The high stakes conflict between the Motion Picture Export Association and the Netherlands Cinema Association 1945-1946, Clara Pafort-Overduin and Douglas Gomery... /part contents

Daniel Biltereyst is Professor in Film and Media Studies at Ghent University, Belgium, where he is also director of the Centre for Cinema and Media Studies (CIMS). His work deals with issues of media historiography, media controversy, and audience’s media engagements. Richard Maltby is Matthew Flinders Distinguished Professor of Screen Studies at Flinders University, South Australia. A Fellow of the Australian Academy of the Humanities, he has published extensively on the cultural history of Hollywood, and has edited seven books on the history of cinema audiences, exhibition, and reception.Philippe Meers is Professor in Film and Media Studies at the University of Antwerp, Belgium, where he chairs the Center for Mexican Studies and is deputy-director of the Visual and Digital Cultures Research Center (ViDi). He has published widely on historical and contemporary film culture and audiences.

• Introduction: The scope of new cinema history, Daniel Biltereyst, Richard Maltby and Philippe MeersPART 1. Reflections and commentsIntroduction: the scope of new cinema history, Daniel Biltereyst, Richard Maltby, and Philippe MeersPART I. Reflections and comments1. Connections, intermediality, and the anti-archive: a conversation with Robert C. Allen, Richard Maltby and Philippe Meers2. Film history, cultural memory, and the experience of cinema: a conversation with Annette Kuhn, Daniel Biltereyst3. How I became a new cinema historian, Melvyn Stokes4. The subject of history and the clutter of phenomena, John Caughie5. The new nontheatrical cinema history?, Gregory A. WallerPART II. Challenges and opportunities6. Reading newspapers and writing American silent cinema history, Richard Abel7. Arclights and zoom lenses: searching for influential exhibitors in film history’s big data, Eric Hoyt8. Comparing historical cinema cultures: reflections on new cinema history and comparison with a cross-national case study on Antwerp and Rotterdam, Daniel Biltereyst, Thunnis van Oort and Philippe Meers9. The archaeology of itinerant film exhibition: unpacking the Brinton Entertainment Company Collection, Kathryn Fuller-Seeley 10. Cinema history as social history: retrospect and prospect, Judith ThissenPART III. Distribution and trade11. Early film stars in trade journals and newspapers: data-based research on global distribution and local exhibition, Martin Loiperdinger12. The high stakes conflict between the Motion Picture Export Association and the Netherlands Cinema Association 1945-1946, Clara Pafort-Overduin and Douglas Gomery... /part contents

Daniel Biltereyst is Professor in Film and Media Studies at Ghent University, Belgium, where he is also director of the Centre for Cinema and Media Studies (CIMS). His work deals with issues of media historiography, media controversy, and audience’s media engagements. Richard Maltby is Matthew Flinders Distinguished Professor of Screen Studies at Flinders University, South Australia. A Fellow of the Australian Academy of the Humanities, he has published extensively on the cultural history of Hollywood, and has edited seven books on the history of cinema audiences, exhibition, and reception.Philippe Meers is Professor in Film and Media Studies at the University of Antwerp, Belgium, where he chairs the Center for Mexican Studies and is deputy-director of the Visual and Digital Cultures Research Center (ViDi). He has published widely on historical and contemporary film culture and audiences.

• Introduction: The scope of new cinema history, Daniel Biltereyst, Richard Maltby and Philippe MeersPART 1. Reflections and commentsIntroduction: the scope of new cinema history, Daniel Biltereyst, Richard Maltby, and Philippe MeersPART I. Reflections and comments1. Connections, intermediality, and the anti-archive: a conversation with Robert C. Allen, Richard Maltby and Philippe Meers2. Film history, cultural memory, and the experience of cinema: a conversation with Annette Kuhn, Daniel Biltereyst3. How I became a new cinema historian, Melvyn Stokes4. The subject of history and the clutter of phenomena, John Caughie5. The new nontheatrical cinema history?, Gregory A. WallerPART II. Challenges and opportunities6. Reading newspapers and writing American silent cinema history, Richard Abel7. Arclights and zoom lenses: searching for influential exhibitors in film history’s big data, Eric Hoyt8. Comparing historical cinema cultures: reflections on new cinema history and comparison with a cross-national case study on Antwerp and Rotterdam, Daniel Biltereyst, Thunnis van Oort and Philippe Meers9. The archaeology of itinerant film exhibition: unpacking the Brinton Entertainment Company Collection, Kathryn Fuller-Seeley 10. Cinema history as social history: retrospect and prospect, Judith ThissenPART III. Distribution and trade11. Early film stars in trade journals and newspapers: data-based research on global distribution and local exhibition, Martin Loiperdinger12. The high stakes conflict between the Motion Picture Export Association and the Netherlands Cinema Association 1945-1946, Clara Pafort-Overduin and Douglas Gomery... /part contents