（2023/11/10 公開 ver.1）

書誌情報と調査ツール
Bibliographic Resources and Research Tools
各セクション内の参考⽂献は出版年順に記載した。すべてのウェブサイトの最終アクセスは 2021 年 9 ⽉ 29 ⽇である。

サード・エディションに寄せて (pp. x‒xiii)
Dagrada, Elena (ed.), International Bibliography on Early Cinema (s.l.: Domitor, 1985).
Flaig, Paul and Katherine Groo (eds.), New Silent Cinema (New York and London: Routledge, 2016).
［ウェブサイト］
Domitor ‒ International Association for the Study of Early Cinema: www.domitor.org
Association française de recherche sur lʼhistoire du cinéma: https://afrhc.fr
Associazione Italiana per le Ricerche di Storia del Cinema: www.airsc.org

序章 (pp. 3‒9)
映画前史と最初期の映画に関する参考⽂献
Deslandes, Jacques and Jacques Richard, Histoire comparée du cinéma. Vol. 1: 1826‒1896 (Paris: Casterman, 1966).
Hecht, Hermann (Ann Hecht, ed.), Pre-Cinema History. An Encyclopaedia and Annotated Bibliography of the Moving
Image Before 1896 (London: Bowker-Saur/BFI Publishing, 1993).
Rossell, Deac, ʻA Chronology of Cinema, 1889‒1896ʼ, special issue of Film History vol. 7 no. 2 (Summer 1995).
Mannoni, Laurent, Donata Pesenti Campagnoni, and David Robinson, Light and Movement: Incunabula of the Motion
Picture (Pordenone, Paris, and Turin: Le Giornate del Cinema Muto/Cinémathèque française ‒ Musée du Cinéma/Museo
Nazionale del Cinema, 1995).
Pesenti Campagnoni, Donata, Verso il cinema. Macchine spettacoli e mirabili visioni (Torino: UTET, 1995).
Mannoni, Laurent, Le Grand Art de la lumière et de lʼombre. Archéologie du cinéma (Paris: Nathan, 1994); English
translation, The Great Art of Light and Shadow: Archaeology of the Cinema (Exeter: University of Exeter Press, 2000).
Herbert, Stephen (ed.), A History of Pre-Cinema (London and New York: Routledge, 2000, 3 vols.).

1

Robinson, David, Stephen Herbert, and Richard Crangle (eds.), Encyclopaedia of the Magic Lantern (Leicester: The
Magic Lantern Society, 2001).
Vivié, Jean, Prélude au cinema: de la préhistoire à lʼinvention (Paris: lʼHarmattan, 2006).
［映画作品］A Movie Trip Through Filmland (Paul M. Felton, US 1921, c. 32ʼ)The Inventor of Kinematography (Gaumont Graphic, UK 1921, 2ʼ)
Der Film im Film (Friedrich Porges, Richard Hirschfeld GmbH/Diana-Film GmbH/Deutsch-Amerikanische Film-Union AG,
Germany 1925, c. 130ʼ).
The Hollywood Dream Factory and How It Grew (US 1927?, 10ʼ; compiled by Blackhawk Films, ca. 1970?, 10ʼ).
LʼHistoire du cinéma par le cinéma (Raoul Grimoin-Sanson, Conservatoire des arts et métiers [CNAM], France 1927, 52ʼ)Thirty Years of Motion Pictures (Otto Nelson and Terry Ramsaye, National Cash Register Company/National Board of
Review of Motion Pictures, US 1927, c. 180ʼ).
The Evolution of the Film. Sidelights on Cinema History. Episodes 1 ‒ 7 [Pathé Pictorial no. 534, 535, 540, 547, 548]
(Wilfred [Will] Day, Pathé Pictorial/British Pathé, UK 1928, 18ʼ).

Die Wunder des Films: Ein Werklied von der Arbeit am Kulturfilm (Edgar Beyfuß, Dr. Edgar Beyfuß-Film [Berlin]/Weltfilm,
Germany 1928, 50ʼ).

La Machine à refaire la vie (Julien Duvivier and Henry Lepage, Julien Duvivier/Pathé, France 1924; sound reissue, 1933,29ʼ)

The Romance of Celluloid (Metro-Goldwyn-Mayer, US 1937, 11ʼ).
Another Romance of Celluloid (Herman Hoffman, Metro-Goldwyn-Mayer, US 1938, 11ʼ).
Was geschah wirklich zwischen den Bildern? (Film Before Film, Werner Nekes, Werner Nekes Filmproduktion, West
Germany, 1985, 83ʼ).

無声映画に関する概説と参考⽂献
Franklin, Joe and William K. Everson (uncredited), Classics of the Silent Screen: A Pictorial Treasury (New York: Bramhall
House, 1959).
Ceram, C.W. [pseud. of Kurt Wilhelm Marek], Eine Archäologie des Kinos (Darmstadt: Deutsche Buch-Gemeinschaft,1965); English translation, Archaeology of the Cinema (New York: Harcourt, Brace & World, 1965).
OʼLeary, Liam, The Silent Cinema (London: Studio Vista; New York: E.P. Dutton, 1965; reprint, 1968; 2nd edition, 1970).
Niver, Kemp R., The First Twenty Years. A Segment of Film History (Los Angeles: Locare Research Group, 1968).

2

Pratt, George C., Spellbound in Darkness (Greenwich, CT: New York Graphic Society, 1973).
Spehr, Paul C., The Movies Begin. Making Movies in New Jersey, 1887‒1920 (Newark, NJ: The Newark Museum/ Morgan& Morgan, 1977).
Fell, John L. (ed.), Film Before Griffith (Berkeley: University of California Press, 1983).
Güttinger, Fritz, Kein Tag ohne Kino. Schriftsteller über den Stumm film (Frankfurt am Main: Deutsches Filmmuseum,1984).
Güttinger, Fritz, Der Stumm film im Zitat der Zeit (Frankfurt am Main: Deutsches Filmmuseum, 1984).
Salt, Barry, ʻWhat We Can Learn from the First Twenty Years of Cinemaʼ, Iris vol. 2 no. 1 (1984), pp. 83‒90.
Fell, John L., Film and the Narrative Tradition (Berkeley: University of California Press, 1986).
Burch, Noël, Life to Those Shadows (Berkeley: University of California Press, 1990).
Elsaesser, Thomas (ed.), Early Cinema: Space, Frame, Narrative (London: BFI Publishing, 1990).
Cosandey, Roland, André Gaudreault, and Tom Gunning (eds.), Une Invention du diable? Cinéma des premiers temps etreligion/An Invention of the Devil? Religion and Early Cinema (Lausanne: Éditions Payot, 1992).
ʻThe Philosophy of Film Historyʼ, special issue of Film History vol. 6 no. 1 (Spring 1994).
Abel, Richard (ed.), Silent Film (New Brunswick, NJ: Rutgers University Press, 1996).
Rossell, Deac, Living Pictures. The Origins of the Movies (Albany: State University of New York, 1998).
Bottomore, Stephen, ʻIntroduction: The Cambrian Cinemaʼ, Film History vol. 10 no. 1 (1998), pp. 3‒7.
Popple, Simon, ʻ“Cinema Wasnʼt Invented, It Growed”: Technological Film Historiography Before 1913ʼ, in John Fullerton(ed.), Celebrating 1895: The Centenary of Cinema (Sydney: John Libbey, 1998), pp. 19‒26.
Grieveson, Lee and Peter Kramer (eds.), The Silent Cinema Reader (London: Routledge, 2003).
Herbert, Stephen (ed.), A History of Early Film (London and New York: Routledge, 2003).
Popple, Simon and Joe Kember, Early Cinema: From Factory Gate to Dream Factory (New York: Wallflower, 2004).
Marie, Michel, Le cinéma muet (Paris: Cahiers du Cinéma/SCÉRÉN-CNDP, 2005).
Kobel, Peter, Silent Movies: The Birth of Film and the Triumph of Movie Culture (New York: Little, Brown & Co., 2007).
Robb, Brian J., Silent Cinema (Harpenden: Oldcastle Books, 2007).
Abel, Richard (ed.), Encyclopedia of Early Cinema (London and New York: Routledge, 2010, 2nd edition).
Dixon, Bryony, 100 Silent Films (London: British Film Institute, 2011).

3

Gaudreault, André, Nicolas Dulac, and Santiago Hidalgo (eds.), A Companion to Early Cinema (Malden, MA: WileyBlackwell, 2012).
Abel, Richard (ed.), Early Cinema. Critical Concepts in Media and Cultural Studies (London and New York: Routledge,
2014, 4 vols.).
Withall, Keith, Studying Early and Silent Cinema (New York: Columbia University Press; Leighton Buzzard: Auteur, 2014).
Napper, Lawrence, Silent Cinema: Before the Pictures Got Small (London and New York: Wallflower Press, 2017).
Slugan, Mario, and Daniël Biltereyst, New Perspectives on Early Cinema History. Concepts, Approaches, Audiences(London: Bloomsbury, 2022).

学際的研究
Kaes, Anton, Kino-Debatte. Texte zum Verhältnis von Literatur und Film, 1909‒1929 (Tübingen and Munich: NiemeyerDeutscher Taschenbuch-Verlag, 1978).
Allen, Robert C., Vaudeville and Film, 1895‒1915: A Study in Media Interaction (New York: Arno Press, 1980).
Abramson, Albert, The History of Television, 1880 to 1941 (Jefferson, NC, and London: McFarland, 1987).
Toulet, Emmanuelle, ʻCinema at the Universal Exposition, Paris, 1900ʼ, Persistence of Vision no. 9 (1991), pp. 10‒36.
Franklin, Peter, ʻMovies as Opera (Behind the Great Divide)ʼ, in Jeremy Tambling (ed.), A Night at the Opera (London:
John Libbey, 1994), pp. 77‒110.
Tsivian, Yuri, ʻRussia, 1913: Cinema in the Cultural Landscapeʼ, Griffithiana vol. 17 no. 50 (May 1994), pp. 125‒147.
Kirby, Lynne, Parallel Tracks: The Railroad and Silent Cinema (Durham, NC: Duke University Press; Exeter: University of
Exeter Press, 1997).
Rossell, Deac, ʻDouble Think: The Cinema and Magic Lantern Cultureʼ, in John Fullerton (ed.), Celebrating 1895: The
Centenary of Cinema (Sydney: John Libbey, 1998), pp. 27‒36.
Dupré la Tour, Claire, André Gaudreault, and Roberta Pearson (eds.), Le Cinéma au tournant du siècle/Cinema at theTurn of the Century (Quebec and Lausanne: Éditions Nota Bene/Éditions Payot, 1999).
Quaresima, Leonardo and Laura Vichi (eds.), The Tenth Muse: Cinema and the Other Arts (Udine: Forum, 2001).
Allen, Robert C., ʻ“A Decided Sensation”: Cinema, Vaudeville, and Burlesqueʼ, in Patricia McDonnell (ed.), On the Edge ofYour Seat: Popular Theater and Film in Early Twentieth-Century American Art (New Haven, CT: Yale University Press,
2002), pp. 61‒89.
Lack, Roland-François, ʻFirst Encounters: French Literature and the Cinematographʼ, Film History vol. 20 no. 3 (2008), pp.
133‒43.
Abel, Richard and Amy Rodgers, ʻEarly Motion Pictures and Popular Print Cultureʼ, in Christine Bold (ed.), The Oxford
History of Popular Print Culture. Vol. 6: US Popular Print Culture, 1860‒1920 (Oxford: Oxford University Press, 2012), pp.
191‒209.

4

Griffiths, Alison, Carceral Fantasies: Cinema and Prisons in Early Twentieth-Century America (New York: Columbia
University Press, 2016).
Shepherd, David J. (ed.), The Silents of Jesus in the Cinema (1897‒1927) (New York and London: Routledge, 2016).
Johnson, Martin L., ʻThe Theater or the Schoolhouse? The Social Center, the Model Picture Show, and the Logic ofCounterattractionsʼ, Film History vol. 29 no. 4 (2017), pp. 1‒31.
Preusser, Heinz-Peter (ed.), Späte Stummfilm. Ästetische Innovation im Kino, 1924‒1930 (Marburg: Schüren Verlag[Schriftenreihe zur Textualität des Films, Bd. 9], 2017).
Curtis, Scott, Philippe Gauthier, Tom Gunning, and Joshua Yumibe (eds.), The Image in Early Cinema. Form and Material(Bloomington: Indiana University Press, 2018).
Dahlquist, Marina, Doron Galili, Jan Olsson, and Valentine Robert, Corporeality in Early Cinema. Viscera, Skin, andPhysical Form (Bloomington: Indiana University Press, 2018).
Galili, Doron, Seeing by Electricity. The Emergence of Television, 1878‒1939 (Durham, NC and London: Duke University
Press, 2020).
［学術誌］

1895 ‒ Revue de lʼAssociation Française de Recherche sur lʼHistoire du Cinéma (Print ISSN 0769-0959; online ISSN
1960-6176).

Early Popular Visual Culture (Print ISSN 1746-0654; online ISSN 1746-0662).
Film History (ISSN 0892-2160).
Griffithiana, 1978‒2004 (ISSN 0393‒3857).
Immagine ‒ Note di storia del cinema (ISSN 1128-7101).
The Magic Lantern Gazette, 1989‒2015 (ISSN 1059-1249).
Moving Image. Journal of the Association of Moving Image Archivists (ISSN 1542-4235).
The Silent Film Quarterly (ISBN 13-2966-6763).
Vivomatografías. Revista de estudios sobre precine y cine silente en Latinoamérica (ISSN 2469-0767).
リージョナル・シネマとナショナル・シネマ［概説］
Cosandey, Roland and André Gaudreault (eds.), Cinéma sans frontières/Images Across Borders (Lausanne: Éditions
Payot, 1995).

5

Abel, Richard, Giorgio Bertellini, and Rob King (eds.), Early Cinema and the ʻNationalʼ (New Barnet, Herts.: John Libbey,2008).
［コンチネンタル・シネマとリージョナル・シネマ］
アフリカ
Convents, Guido, Préhistoire du cinéma en Afrique, 1897‒1918. À la recherche des images oubliées (Brussels: OCIC,
1986).
Speciale, Alessandra (ed.), La nascita del cinema in Africa (Turin: Lindau, 1998).
Goerg, Odile, Fantômas sous les tropiques: aller au cinéma en Afrique coloniale (Paris: Vendémiaire, 2015).
Reynolds, Glenn, Colonial Cinema in Africa. Origins, Images, Audiences (Jefferson, NC: McFarland, 2015).
Parsons, Neil, Black and White Bioscope: Making Movies in Africa 1899‒1925 (Bristol: Intellect, 2018).
Goerg, Odile, Tropical Dream Palaces. Cinema in Colonial West Africa (London: Hurst, 2019).
アジア
Deocampo, Nick (ed.), Early Cinema in Asia (Bloomington: Indiana University Press, 2017).
中南⽶
Hennebelle, Guy and Alfonso Gumucio-Dagron (eds.), Les Cinémas de lʼAmérique latine (Paris:
LʼHerminier/CinémAction, 1981).
Paranaguá, Paulo Antonio, O cinema na América Latina. Longe de deus e perto de Hollywood (Porto Alegre: L&PM
Editores, 1985).
Schumann, Peter B., Historia del cine latinoamericano (Buenos Aires: Editorial Legasa, 1986).
García Mesa, Héctor (ed.), Cine latinoamericano, 1896‒1930 (Caracas: Fundación del nuevo cine latinoamericano, 1992).
López, Ana M., ʻEarly Cinema and Modernity in Latin Americaʼ, Cinema Journal vol. 40 no. 1 (2000), pp. 48‒78.
Cortés, María Lourdes, La pantalla rota. Cien años de cine en Centroamérica (Mexico: Taurus, 2005).
de los Reyes, Aurelio and David Wood (eds.), Cine mudo latinoamericano: inicios, nación, vanguardias y transición(Mexico: UNAM, 2015).
Cuarterolo, Andrea and Rielle Navitski, ʻBibliografía sobre precine y cine silente latinoamericanoʼ, Vivomatografías vol. 3
no. 3 (December 2017), pp. 248‒415.
de los Reyes, Aurelio, e David M.J. Wood (eds.), Las rutas del cine en América Latina, 1895-1910 (Mexico:
UNAM/Instituto de Investigaciones Estéticas, 2021).
［ナショナル・シネマ］

6

アルゼンチン

Historia de los primeros años del cine en la Argentina, 1895‒1910 (Buenos Aires: Fundación Cinemateca Argentina,1996).
Finkielman, Jorge, The Film Industry in Argentina. An Illustrated Cultural History (1896‒1940) (Boston, MA: McFarland &Company, 2003).
Maranghello, César, Breve historia del cine argentino (Barcelona: Laertes, 2005).
Cuarterolo, Andrea, De la foto al fotograma. Relaciones entre cine y fotografía en la Argentina, 1840‒1933 (Montevideo:
CdF Ediciones, 2013).
Cappa, Carolina (ed.), Nitrato argentino. Una historia del cine de los primeros tiempos (Buenos Aires: Museo del Cine,2019).
アルメニア
Zakoian, Garegin, Armianskoe nemoe kino (Yerevan: Izdatelstvo AN Armianskoi CCR, 1976).
オーストラリア
Pike, Andrew and Ross Cooper, Australian Film, 1900‒1977 (Melbourne: Oxford University Press, 1980).
Adams, Brian and Graham Shirley, Australian Cinema: The First Eighty Years (Sydney: Angus & Robertson/Currency
Press, 1983).
Bertrand, Ina and William D. Routt, ʻThe Big Bad Combine: Some Aspects of National Aspirations and International
Constraints in the Australian Cinema, 1896‒1929ʼ, in Albert Moran and Tom OʼRegan (eds.), The Australian Screen(Ringwood: Penguin, 1989), pp. 3‒27.
Long, Chris, ʻAustraliaʼs First Filmsʼ, Cinema Papers no. 91, January 1993 (Part 1), pp. 36‒43; no. 92, April 1993
(Part 2), pp. 36‒43, 62‒63; no. 93, May 1993 (Part 3), pp. 34‒41, 60‒61; no. 94, August 1993 (Part 4), pp. 34‒39,
62‒63; no. 95, October 1993 (Part 5), pp. 38‒43, 59‒61; no. 96, December 1993 (Part 6), pp. 32‒37, 59‒61 (with Pat
Loughren); nos. 97‒98, April 1994 (Part 7), pp. 34‒41, 64‒66; no. 99, June 1994 (Part 8), pp. 60‒65, 84‒85 (with Pat
Loughren); no. 100, August 1994 (Part 9), pp. 60‒67, 82‒83 (with Clive Sowry); no. 101, October 1994 (Part 10), pp. 56‒61,
82‒83; no. 102, December 1994 (Part 11), pp. 52‒57, 80‒82 (with Clive Sowry); no. 103, March 1995 (Part 12), pp. 40‒43,
56‒57 (with Clive Sowry); no. 104, June 1995 (Part 13), pp. 40‒43, 55 (with Clive Sowry); no. 105, August 1995 (Part 14),
pp. 36‒39, 57‒58 (with Clive Sowry); no. 106, October 1995 (Part 15), pp. 38‒41, 54‒55; no. 107, December 1995 (Part 16),
pp. 34‒37, 56‒57; no. 108, February 1996 (Part 17), pp. 34‒37, 54‒55; no. 109, April 1996 (Part 18), pp. 34‒37, 54‒55(ʻHistory: Morals and the Mutoscopeʼ, with Bob Klepner); no. 110, June 1996 (Part 19), pp. 42‒45, 61 (ʻHistory: Australian
Cinema, 1894‒1904ʼ); no. 112, October 1996, pp. 36‒39 (ʻAustralian Film History: Three New Projects. The Early
Queensland and Tasmanian “Narrative” Filmsʼ, with Wendy Rogers).
オーストリア=ハンガリー帝国とオーストリア(セルビア⼈・クロアチア⼈・スロベニア⼈王国も参照のこと)
Fritz, Walter, Kino in Österreich: Der Stummfilm, 1896‒1930 (Vienna: Österreichischer Bundesverlag, 1981).
Schwartz, Werner M., Kino und Kinos in Wien: eine Entwicklungsgeschichte bis 1934 (Vienna: Turia & Kant, 1992).

7

Büttner, Elisabeth and Christian Dewald, Das tägliche Brennen. Eine Geschichte des österreichische Films von den
Anfängen bis 1945 (Salzburg and Vienna: Residenz-Verlag, 2002).
ベラルーシ
Avdeev, Igor and Larisa Zaitseva, Vse belorusskie filmy. Vol. 1: Igrovoe kino, 1926‒1970 (Minsk: Belaruskaia navuka,
1996).
ベルギー
Convents, Guido, Van Kinetoscoop tot Café-Ciné. De eerste jaren van de film in België (Leuven: Universitaire Pers
Leuven, 2000).
Mosley, Philip, Split Screen: Belgian Cinema and Cultural Identity (Albany: State University of New York Press, 2001).
ボリビア
Mesa Gisbert, Carlos D. (ed.), Cine boliviano del realizador al critico (La Paz: Editorial Gisbert, 1979).
Gumocio Dagron, Alfonso, Historia del cine boliviano (Mexico: Filmoteca de la UNAM, 1983).
Susz, Pedro, La campaña del Chaco: el ocaso del cine silente boliviano (La Paz: Universidad Mayor de San Andrés, 1990).
ボスニア・ヘルツェゴビナ
オーストリア=ハンガリー帝国とオーストリア、セルビア⼈・クロアチア⼈・スロベニア⼈王国を参照のこと
ブラジル
De Paula Araujo, Vicente, A bela época do cinema brasileiro (São Paulo: Editora Perspectiva, 1976).
Galvão, Maria Rita, ʻLe Muetʼ, in Paulo Antonio Paraganuá (ed.), Le Cinéma brésilien (Paris: Centre Georges Pompidou,
1987), pp. 51‒66.
Noronha, Jurandyr, No tempo da manivela (Rio de Janeiro: Ebal/Kinart/Embrafilme, 1987).
Ramos, Ferrão and Luis Felipe (eds.), Enciclopédia do cinema brasileiro (São Paulo: Editora Senac, 2000).
Trusz, Alice Dubina, Entre lanternas mágicas e cinematógrafos: as origens do espetáculo cinematográfico em Porto
Alegre. 1861‒1908 (São Paulo: Terceiro Nome/ Ecofalante, 2010).
Paiva, Samuel and Sheila Schvarzman (eds.), Viagem ao cinema silencioso do Brasil (Rio de Janeiro: Beco do Azougue
Editorial, 2011).
de Luna Freire, Rafael, O negócio do filme. A distribuição cinematográfica no Brasil, 1907‒1915 (Rio de Janeiro: Museude Arte Moderna do Río de Janeiro/Cinemateca do MAM/PPGCine-UFF, 2022). E-book: https://mam.rio/cinemateca/onegocio-do-filme/ (accessed 30 May 2023).
カナダ

8

Morris, Peter, Embattled Shadows: A History of Canadian Cinema, 1895‒1939 (Montreal and Kingston: McGill-Queenʼs
University Press, 1978; reprint edition, 2008).
Lacasse, Germaine, Histoires de Scopes: le cinema muet au Québec (Montréal: Cinémathèque québécoise, 1988).
Graham, Gerald G., Canadian Film Technology, 1896‒1986 (Newark, London, and Toronto: University of Delaware
Press/Associated University Presses, 1989).
Gaudreault, André, Germain Lacasse, and Jean-Pierre Sirois-Trahan, Au pays des ennemis du cinéma ... pour une
nouvelle histoire des débuts du cinéma au Québec (Québec: Nuit Blanche, 1996).
Moore, Paul S., Now Playing: Early Moviegoing and the Regulation of Fun (Albany: State University of New York Press,
2008).
チリ
Jara Donoso, Eliana, Cine mudo chileno (Santiago: Ceneca, 1994).
Iturriaga, Jorge, La masificación del cine en Chile, 1907‒1932. La conflictiva construcción de una cultura plebeya(Santiago: LOM, 2015).
中国
Leyda, Jay, Dianying. Electric Shadows. An Account of Films and the Film Audience in China (Cambridge, MA, andLondon: MIT Press, 1972).
Suyuan, Li and Hu Jubin, Chinese Silent Film History (Beijing: China Film Press, 1997).
Jubin, Hu, ʻYingxi (Shadow Play): The Initial Chinese Conception about Filmʼ, Screening the Past no. 11 (November 2000):
http://www.screeningthepast. com/2014/12/yingxi-shadow-play-the-initial-chineseconception-aboutlm/.
Zhang, Yingjin, Chinese National Cinema (New York: Routledge, 2004).
Zeng, Zhang, An Amorous History of the Silent Screen: Shanghai Cinema, 1896‒1937 (Chicago: University of Chicago
Press, 2005).
Xuelei, Huang, Shanghai Filmmaking: Crossing Borders, Connecting to the Globe, 1922‒1938 (Leiden: Brill, 2014).
コロンビア
Martínez Prado, Hernando, Historia del cine colombiano (Bogotá: Libreria y Editorial America Latina, 1978).
Salcedo Silva, Hernando, Crónicas del cine colombiano, 1897‒1950 (Bogotá: Carlos Valencia Editores, 1981).
Franco Díez, Germán, Mirando solo a la tierra. Cine y sociedad espectadora en Medellín, 1900‒1930 (Bogotá: Pontificia
Universidad Javeriana, 2013).
Concha Henao, Álvaro, Historia Social del Cine en Colombia, Tomo 1, 1897‒1929 (Bogotá: Publicaciones Black Maria,2014).

9Rico Agudelo, Angie, Las travesías del cine y los espectáculos públicos. Colombia en la transición del siglo XIX al XX(Bogotá: Cinemateca Distrital, 2016).
コスタリカ
Marranghello, Daniel, El cine en Costa Rica, 1903‒1920 (San José, Costa Rica: Colección Cultura Cinematografica, 1988).
Cortés, María Lourdes, La pantalla rota. Cien años de cine en Centroamérica (Mexico: Taurus, 2005).
クロアチア
オーストリア=ハンガリー帝国とオーストリア、セルビア⼈・クロアチア⼈・スロベニア⼈王国を参照のこと
キューバ
Rodriguez González, Raúl, Maria Eulalia Douglas, and Héctor García Mesa, ʻLe Cinéma muetʼ, in Paulo Antonio
Paranaguá (ed.), Le Cinéma cubain (Paris: Centre Georges Pompidou, 1990), pp. 49‒62.
Rodríguez González, Raúl, El cine silente en Cuba (Havana: Letras Cubanas, 1992).
Douglas, Maria Eulalia, La tienda negra. El cine en Cuba, 1897‒1990 (Havana: Cinemateca de Cuba, 1997).
Fornet, Ambrosio, ʻDel silente al sonoro: la prehistoria del cine en Cubaʼ, Archivos de la Filmoteca [Valencia] no. 59 (June2008), pp. 17‒33.
Agramonte, Arturo and Luciano Castillo. Cronología del cine cubano, 1897‒1936 (Havana: Ediciones ICAIC, 2011).
デンマーク
Engberg, Marguerite, Dansk Stumfilm (Copenhagen: Rhodos, 1977).
Mottram, Ron, The Danish Cinema, 1896‒1917 (Ann Arbor: University of Michigan Press, 1982).
Tybjerg, Casper, An Art of Silence and Light: The Development of the Danish Drama to 1920 (Copenhagen: Departmentof Film and Media Studies, University of Copenhagen, 1996).
Thorsen, Isak, Nordisk Films Kompagni 1906‒1924: The Rise and Fall of the Polar Bear (New Barnet, Herts.: John Libbey,
2017, KINtop Series 5).
エクアドルʻEl cine mudo en Ecuadorʼ, in Héctor García Mesa (ed.), Cine latinoamericano, 1896‒1930 (Caracas: Fundación del nuevo
cine latinoamericano, 1992), pp. 169‒176.
Granda, Wilma, El cine silente en Ecuador, 1895‒1935 (Quito: Casa de la Cultura Ecuatoriana/Cinemateca
Nacional/UNESCO, 1995).
フィンランドUusitalo, Kari, Eläviksi syntyneet kuvat. Suomalaisen elokuvan mykät vuodet, 1896‒1930 (Helsinki: Kustannusosakeyhtiö
Otava, 1972).

10

Hirn, Sven, Kuvat kulkevat. Kuvallisten esitysten perinne ja elävien kuvien 12 ensimmäistä vuotta Suomessa (Helsinki:
Suomen elokuvasäätiö, 1981).
Hirn, Sven, Kuvat elävät. Elokuvatoimintaa Suomessa 1908‒1918 (Helsinki: VAPK-Kustannus/Suomen elokuva-arkisto,
1991).
フランス
Demenÿ, Georges, Les Origines du cinématographe (Paris: H. Paulin, n.d. [1909]).
Kress, Émile, Bibliothèque générale de cinématographie, Conférences sur la cinématographie organisées par le Syndicat
des auteurs et gens de lettres. Première conférence, Historique du Cinématographe (Paris: Comptoir dʼédition deʻCinéma-Revueʼ, n.d. [1912]).
Rosen, J., LʼHistoire dʼune industrie. Le cinématographe: son passé, son avenir et ses applications (Paris: SociétédʼÉditions Techniques, n.d. [1912]).
Coissac, Guillaume-Michel, ʻLe Cinéma. Son passé, son présent, son avenirʼ, in Annuaire général de la Cinématographiefrançaise et étrangère (Paris: Éditions de Ciné-Journal, 1917), pp. 457‒507.
Turpain, Albert, Conférences scientifiques. Cinquième fascicule: Le Cinématographe. Histoire de son invention, son
développement, son avenir (Paris: Gauthier-Villars, 1924).
Coissac, Guillaume-Michel, Histoire du cinématographe de ses origines à nos jours (Paris: Éditions du Cinéopse/
Gauthier-Villars, 1925).

Le Cinéma des origines à nos jours (Paris: Aux Éditions du Cygne, 1932).
Abel, Richard, French Cinema: The First Wave, 1915‒1929 (Princeton, NJ: Princeton University Press, 1984).
Guibbert, Pierre (ed.), Les Premiers ans du cinéma français (Perpignan: Institut Jean Vigo, 1985).
Kermabon, Jacques (ed.), Pathé, premier empire du cinéma (Paris: Centre Georges Pompidou, 1994).
Abel, Richard, The Ciné Goes to Town: French Cinema, 1896‒1914 (Berkeley: University of California Press, 1993;
updated and expanded edition, 1998).
Salmon, Stéphanie, Pathé. À la conquête du cinéma (Paris: Tallandier, 2014).
ジョージア
Amiredzhibi, Natia, Na zare gruzinskogo kino (Tbilisi: Khelovneba, 1978).
ドイツ
Narath, Albert, Oskar Meßter. Der Begründer der deutschen Kino- und Filmindustrie (Berlin: Stiftung Deutsche
Kinemathek, 1966).

11

Dahlke, Günther and Günter Karl (eds.), Deutsche Spielfilme von den Anfängen bis 1933 (Berlin/DDR: Henschel Verlag,
1988).
Cherchi Usai, Paolo and Lorenzo Codelli (eds.), Before Caligari. German Cinema, 1895‒1920 (Pordenone: Le Giornate delCinema Muto, 1990).
Heide Schlüpmann, Unheimlichkeit des Blicks: das Drama des frühen deutschen Kinos (Basle: Stroemfeld/Roter Stern,1990); English translation, The Uncanny Gaze: The Drama of Early German Cinema (Urbana: University of Illinois Press,
2010).
Jacobsen, Wolfgang, Anton Kaes, and Hans Helmut Prinzler (eds.), Geschichte des Deutschen Films (Stuttgart: Metzler,
1993).
Müller, Corinna, Frühe Deutsche Kinematographie. Formale, wirtschaftliche und kulturelle Entwicklungen (Stuttgart:
Metzler, 1994).
Elsaesser, Thomas, Michael Wedel, and Martin Loiperdinger (eds.), A Second Life: German Cinemaʼs First Decades(Amsterdam: Amsterdam University Press, 1996; German edition, Berlin: Vorwerk, 2000).
Bock, Hans-Michael (ed.), Recherche. Film: Quellen und Methoden der Filmforschung (Munich: edition text+kritik, 1997).
Gandert, Gero (ed.), Der Film der Weimarer Republik 1929. Ein Handbuch der zeitgenössischen Kritik. Herausgegeben im
Auftrag der Stiftung Deutsche Kinemathek (Berlin and New York: Walter de Gruyter Verlag, 1997).
Putz, Petra, Waterloo in Geiselgasteig. Die Geschichte des Münchner Filmkonzerns Emelka (1919‒1933) im
Antagonismus zwischen Bayern und dem Reich. Mit einer Konzern-Filmographie von Uli Jung (Trier: Wissenschaftlicher
Verlag, 1997).
Schöning, Jörg (ed.), Triviale Tropen. Exotische Reise- und Abenteuer filme aus Deutschland 1919‒1939 (Munich: edition
text+kritik, 1997).
Müller, Corinna and Harro Segeberg (eds.), Die Modellierung des Kino films: zur Geschichte des Kinoprogramms
zwischen Kurzfilm und Langfilm 1905/06‒1918 (Munich: Fink, 1998, Mediengeschichte des Films, Vol. 2).
Koebner, Thomas (ed.), Diesseits der ʻDämonischen Leinwandʼ. Neue Perspektiven auf das späte Weimarer Kino
(Munich: edition text+kritik, 2003).
Mühl-Benninghaus, Wolfgang, Vom Augusterlebnis zur UFA-Gründung. Der deutsche Film im Ersten Weltkrieg (Berlin:
Avinus Verlag, 2004).
英国
Low, Rachael, The History of the British Film (London: George Allen & Unwin, 1948 [Vol. 1: 1896‒1906, in collaboration
with Roger Manvell], 1949 [Vol. 2: 1906‒1914], 1950 [Vol. 3: 1914‒1918], 1971 [Vol. 4: 1918‒1929]).
Brown, Richard and Barry Anthony, The History of the British Mutoscope and Biograph Company (Trowbridge, Wilts.:
Flicks Books, 1995).
Herbert, Stephen and Luke McKernan (eds.), Whoʼs Who of Victorian Cinema (London: BFI Publishing, 1996).

12

Sopocy, Martin, James Williamson. Studies and Documents of a Pioneer of the Film Narrative (London: Associated
University Presses, 1998).
Burton, Alan and Laraine Porter (eds.), Scene Stealing: Sources for British Cinema Before 1930 (Trowbridge, Wilts.:
Flicks Books, 2003).
Grieveson, Lee and Colin MacCabe (eds.), Empire in Film (London: BFI Publishing/Palgrave, 2011).
Barnes, John, The Beginnings of the Cinema in England, 1894‒1901 (Exeter: University of Exeter Press, 2015, 5 vols.).
Christie, Ian, Robert Paul and the Origins of British Cinema (Chicago: University of Chicago Press, 2019).
ギリシャ
Démopoulos, Michel, Le Cinéma grec (Paris: Centre Georges Pompidou, 1995).
グアテマラ
ʻGuatemala: café, capitalismo dependiente y cine silenteʼ, in Héctor-García Mesa (ed.), Cine latinoamericano, 1896‒1930(Caracas: Fundación del nuevo cine latinoamericano, 1992), pp. 177‒188.
オーストリア=ハンガリー帝国(1918 年まで)とハンガリー(1918 年から)のハンガリー諸国
Jordáky, Lajos, Az erdélyi néma filmgyártás története, 1903‒1930 (Bucharest: Kriterion, 1980).
Balogh, Gyöngyi and Zágoni Bálint, A kolozsvári filmgyártás képes története 1913-tól 1920-ig (Kolozsvár and Budapest:
Filmtett Egyesúlet/Magyar Nemzeti Filmarchívum, 2009).
インド
Chabria, Suresh (ed.), Light of Asia. Indian Silent Cinema, 1912‒1934 (Pordenone and New Delhi: Le Giornate del Cinema
Muto/Wiley Eastern Ltd., 1994; revised and expanded edition, New Delhi: Niyogi Books, 2013).
Rajadhyaksha, Ashish and Paul Willemen, Encyclopaedia of Indian Cinema (London and New Delhi: BFI
Publishing/Oxford University Press, 1999).
Fletcher, Tony, The Salvation Army and the Cinematograph, 1897‒1929: A Religious Tapestry in Britain and India(London: Local History Publications, 2015).
Mahadevan, Sudhir, A Very Old Machine. The Many Origins of the Cinema in India (Albany: State University of New York
Press, 2015).
Dass, Manishita, Outside the Lettered City: Cinema, Modernity, and the Public Sphere in Late Colonial India (Oxford:
Oxford University Press, 2015).
イラン
ペルシャを参考のこと
アイルランドとアイルランド⾃由国

13Flynn, Arthur, The Story of Irish Film (Dublin: Currach Press, 2005).
Condon, Denis, Early Irish Cinema, 1895‒1921 (Newbridge, Co. Kildare: Irish Academic Press, 2008).
イタリア
Bernardini, Aldo, Cinema muto italiano, 1896‒1914 (Bari: Laterza, 1980‒1982, 3 vols.).
Brunetta, Gian Piero, Guida alla storia del cinema italiano, 1905‒2003 (Turin: Einaudi, 2003).
Alovisio, Silvio and Alberto Barbera (eds.), Cabiria & Cabiria (Milan: Il Castoro, 2006).
Canosa, Michele, Giulia Carluccio, and Federica Villa (eds.), Cinema muto italiano: tecnica e tecnologia. Volume 1:
Discorsi, precetti, documenti; Volume 2: Brevetti, macchine, mestieri (Rome: Carocci, 2006).
Bertellini, Giorgio (ed.), Italian Silent Cinema: A Reader (New Barnet, Herts.: John Libbey, 2013).
Quaresima, Leonardo, Storia del cinema italiano. Vol. 4, 1924‒1933 (Venice: Marsilio, 2014).
Alovisio, Silvio, and Giulia Carluccio (eds.), Introduzione al cinema muto italiano (Turin: Utet, 2014).
⽇本
⽥中純⼀郎『⽇本映画発達史』（第 1 巻、第 2 巻） (東京: 中央公論社 1975‒1976).
今村昌平、佐藤忠男、新藤兼⼈、鶴⾒俊輔、⼭⽥洋次 (編)『講座 ⽇本映画 1 ⽇本映画の誕⽣』 (東京: 岩波書店 1985).
今村昌平、佐藤忠男、新藤兼⼈、鶴⾒俊輔、⼭⽥洋次 (編)『講座 ⽇本映画 2 無声映画の完成』 (東京: 岩波書店 1986).
岩本憲児 (編集)『⽇本映画とモダニズム 1920‒1930』 (東京: リブロポート 1991).
Komatsu, Hiroshi, ʻSome Characteristics of Japanese Cinema Before World War Iʼ, in Arthur Noletti and David Desser(eds.), Reframing Japanese Cinema: Authorship, Genre, History (Bloomington: Indiana University Press, 1992), pp. 229‒258.
吉⽥喜重、⼭⼝昌男、⽊下直之 (編)『映画伝来 シネマトグラフと〈明治の⽇本〉』(東京: 岩波書店 1995).
Bernardi, Joanne, Writing in Light: The Silent Scenario and the Japanese Pure Film Movement (Detroit, MI: Wayne State
University Press, 2001).
Gerow, Aaron A., Visions of Japanese Modernity: Articulations of Cinema, Nation, and Spectatorship, 1896‒1925(Berkeley: University of California Press, 2010).
マーク・ノーネス、アーロン・ジェロー『⽇本映画研究へのガイドブック』 (東京: ゆまに書房 2016); English translation,
Research Guide to Japanese Film Studies (Ann Arbor: Center for Japanese Studies, University of Michigan, 2009; Kindle
edition, 2016).
セルビア⼈・クロアチア⼈・スロベニア⼈王国(オーストリア=ハンガリー帝国とオーストリアも参照のこと)
Kosanović, Dejan, Počeci kinematografije na tlu Jugoslavije 1896‒1918 (Belgrade: Institut za film, 1985).

14

Kosanović, Dejan, Kinematografske delatnosti u Puli, 1896‒1918 (Belgrade, Pula: Institut za Film/Festival
Jugoslavenskog Igranog Filma, 1988).
リヒテンシュタイン
Ling, Annette, ʻDas Kino im Wirtshaus “Rössle” in Schannʼ, Jahrbuch des Historischen Vereins für das Fürstentum
Liechtenstein no. 103 (2004), pp. 139‒189.
マケドニア
オスマン帝国とトルコ、セルビア⼈・クロアチア⼈・スロベニア⼈王国を参照
メキシコ
de los Reyes, Aurelio, Los orígenes del cine en México, 1896‒1900 (Mexico: FCE/Secretaría de Educación Pública, 1973).
de los Reyes, Aurelio, Vivir de sueños. El cine mudo en México de 1896 a 1920 (Mexico, DF: Universidad Nacional
Autónoma de México, 1979).
de los Reyes, Aurelio. Cine y sociedad en México, 1896‒1920. Vol. 1: Vivir de sueños (Mexico: UNAM/Cineteca Nacional,
1981).
ʻEl cine en México (1896‒1930)ʼ, in Héctor García Mesa (ed.), Cine latinoamericano, 1896‒1930 (Caracas: Fundación delnuevo cine latinoamericano, 1992), pp. 189‒278.
de Los Reyes, Aurelio, Cine y sociedad en México, 1896‒1930 (Mexico, DF: Universidad Nacional Autónoma de México,1993).
de los Reyes, Aurelio, Cine y sociedad en México, 1920‒1924. Vol. 2: Bajo el cielo de México (Mexico: Universidad
Nacional Autónoma de México, 1993).
Miquel, Ángel. En tiempos de revolución. El cine en la ciudad de México (1910‒1916) (Mexico: Universidad Nacional
Autónoma de México, 2013).
de los Reyes, Aurelio, Cine y sociedad en México, 1896‒1930. Vol 3: Sucedió en Jalisco o los Cristeros (Mexico:
Universidad Nacional Autónoma de México, 2014).
ʻMexican Silent Cinemaʼ, monograph issue of Film History vol. 29 no. 1 (2017).
モンテネグロ(公国)(セルビア⼈・クロアチア⼈・スロベニア⼈王国、オスマン帝国とトルコ、オーストリア=ハンガリー帝国とオーストリアも参照のこと)
Kosanović, Dejan, Počeci kinematografije na tlu Jugoslavije 1896‒1918 (Belgrade: Institut za film, 1985).
オランダ
Dibbets, Karel and Frank van der Maden (eds.), Geschiedenis van de Nederlandse Film en Bioscoop tot 1940 (Weesp:
Het Wereldvenster, 1986).
ニュージーランド／アオテアロア

15Dennis, Jonathan, ʻA Time Lineʼ, in Jonathan Dennis and Jan Bieringa (eds.), Film in Aotearoa New Zealand (Wellington:
Victoria University Press, 1992), pp. 183‒219.
オスマン帝国とトルコ
Kosanović, Dejan, Počeci kinematografije na tlu Jugoslavije 1896‒1918 (Belgrade: Institut za film, 1985).
Basutçu, Mehmet (ed.), Le Cinéma turc (Paris: Centre Georges Pompidou, 1996).
ʻThe Middle East and North Africaʼ, special issue of Early Popular Visual Culture vol. 6 no. 2 (July 2008).
ペルシャ（1935 年からイラン）
Ali Issari, Mohammad, Cinema in Iran, 1900‒1979 (Metuchen, NJ, and London: Scarecrow Press, 1989).
Mottahedeh, Negar, ʻCollection and Recollection: On Studying the Early History of Motion Pictures in Iranʼ, Early Popular
Visual Culture vol. 6 no. 2 (July 2008), pp. 103‒120.
Naficy, Hamid, A Social History of Iranian Cinema. Vol. 1: The Artisanal Era, 1897‒1941 (Durham, NC: Duke University
Press, 2011).
ペルー
Carbone, Giancarlo, El cine en el Perú, 1897‒1950: testimonios (Lima: Universidad de Lima, 1992).
Bedoya, Ricardo, 100 años de cine en el Perú: una historia critica (Lima: Universidad de Lima/Instituto de Cooperación
Iberoamericana, 1995).
Bedoya, Ricardo, El cine silente en Perú (Lima: Universidad de Lima, 2009).
Núñez Gorriti, Violeta, El cine en Lima 1897‒1929 (Lima: Concejo Nacional de Cinematografía, 2010).
フィリピン
Quirino, Joe, History of the Philippine Cinema (Manila: Phoenix Publishing House, 1983).
Deocampo, Nick, Cine: Spanish Influences on Early Cinema in the Philippines (Manila: Cinema Values Reorientation
Program, National Commission for Culture and the Arts, 2003).
Musser, Charles, ʻNationalism, Contradiction, and Identity: Or, A Reconsideration of Early Cinema in the Philippinesʼ, in
Nick Deocampo (ed.), Early Cinema in Asia (Bloomington: Indiana University Press, 2017), pp. 71‒109.
ポーランド
Hendrykowska, Małgorzata, Śladami tamtych cieni: Film w kulturze polskiej przełomu stuleci 1895‒1914 (Poznán: Oficyna
Wydawnicza, 1993).
Skaff, Sheila, The Law of the Looking Glass: Cinema in Poland, 1896‒1939 (Athens: Ohio University Press, 2008).

16

ポルトガル
Ribeiro, M. Félix, Filmes, figuras e factos da história do cinema português, 1896‒1949 (Lisbon: Cinemateca Portuguesa,
1983).
プエルトルコ
García-Crespo, Naida, Early Puerto Rican Cinema and Nation Building: National Sentiments, Transnational Realities,
1897-1940 (Lewisburg, PA: Bucknell University Press, 2019).
ルーマニア
Cantacuzino, Ion I., Uzina de basme. Scrieri despre cinema (Bucharest: Maiko, 2004).
ロシアとソビエト連邦（アルメニア、ベラルーシ、ジョージア、ウクライナも参照のこと）
Likhachiov, Boris, Kino v Rossii (1896‒1926): materialy k istorii russkogo kino. Part 1: 1896‒1913 (Leningrad: Academia,
1927).
Eikhenbaum, Boris (ed.), Poetika kino (Moscow and Leningrad: Kinopechat, 1927; 2nd edition, Berkeley: Berkeley Slavic
Specialties, 1984; 3rd edition, with extended commentaries, Poetika kino. Perechityvaia ʻPoetiku kinoʼ, St Petersburg: RIII,
2001).
Likhachiov, Boris, ʻMaterialy k istorii kino v Rossii (1896‒1926)ʼ, in Iz istorii kino: materialy i dokumenty [Moscow:
Izdatelstvo AN SSSR] no. 3 (1960), pp. 37‒103.
Leyda, Jay, Kino. A History of Russian and Soviet Film (London: George Allen & Unwin, 1960; 3rd edition, Princeton, NJ:
Princeton University Press, 1983).
Ginzburg, Semion, Kinematografiia dorevoliutsionnoi Rossii (Moscow: Iskusstvo, 1963; 2nd edition, Moscow: Agraf, 2007).
Abul-Kasymova, Khanzara, Semion Ginzburg, Iosif Dolinskii, Sergei Drobashenko, Georgii Zhurov, Mark Zak, Iurii
Kalashnikov, Ivar Kosenkranius, Samir Rizaev, Semion Freilikh, Yurii Khaniutin, and Kora Tsereteli (eds.), Istoriia
sovetskogo kino, 1917‒1967 [4 vols.]. Vol. 1: 1917‒1931 (Moscow: Iskusstvo, 1969).
Selezniova, Tamara, Kinomysl 1920-kh godov (Leningrad: Iskusstvo, 1972).
Chernyshov, Andrei, Russkaia dooktiabrskaiia zhurnalistika (Moscow: Izdatelstvo MGU, 1987).
Tsivian, Yuri, with Paolo Cherchi Usai, Lorenzo Codelli, Carlo Montanaro, and David Robinson, Silent Witnesses. Russian
Cinema, 1896‒1919 (Pordenone and London: Biblioteca dellʼImmagine/BFI Publishing, 1989).
Tsivian, Yuri, Istoricheskaia retsepsiia kino: kinematograf v Rossii, 1896‒1930 (Riga: Zinatne, 1991); abridged and revised
English translation, Early Cinema in Russia and Its Cultural Reception (London and New York: Routledge, 1994).
ʻRussian and Soviet Cinema: Continuity and Changeʼ, special issue of Historical Journal of Film, Radio and Television vol.
11 no. 2 (1991).
Youngblood, Denise J., Movies for the Masses: Popular Cinema and Soviet Society in the 1920s (Cambridge, MA:
Cambridge University Press, 1992).

17

Taylor, Richard and Ian Christie (eds.), The Film Factory: Russian and Soviet Cinema in Documents, 1896‒1939(Cambridge, MA: Harvard University Press, 1988; reprint, London: Routledge, 1994).
Youngblood, Denise J., The Magic Mirror: Moviemaking in Russia, 1908‒1918 (Madison: University of Wisconsin Press,
1999).
Batalin, Viktor, Kinokhronika v Rossii, 1896‒1916 gg. Opisʼ kinosjomok, khraniaschikhsia v RGAKFD (Moscow: OlmaPress/Astrel, 2002).
Deriabin, Aleksandr (ed.), Letopisʼ rossiiskogo kino, 1863‒1929 (Moscow: Materik/NII kinoiskusstva, 2004).
Deriabin, Aleksandr (ed.), Letopisʼ rossiiskogo kino, 1930‒1945 (Moscow: Materik/NII kinoiskusstva, 2007).
Korotkii, Viktor, Operatory i rezhissiory russkogo igrovogo kino, 1897‒1921: bio filmograficheskii spravochnik (Moscow:s.n., 2009).
Drieu, Cloé, Cinema, Nation, and Empire in Uzbekistan, 1919‒1937 (Bloomington, IN: Indiana University Press, 2018).
セルビア
オーストリア=ハンガリー帝国とオーストリア、セルビア⼈・クロアチア⼈・スロベニア⼈王国を参照のこと
スロベニア
オーストリア=ハンガリー帝国とオーストリア、セルビア⼈・クロアチア⼈・スロベニア⼈王国を参照のこと
スペイン
González López, Palmira, Els anys daurats del cinema clàssic a Barcelona, 1906‒1923 (Barcelona: Publicacions delʼInstitut del Teatre de la Diputació de Barcelona/ Edicions 62, 1987).

Cine mudo español. Un primer acercamiento de investigación (s.l. [Madrid]: Universidad Complutense, 1991).
Martinez, Josefina, Los primeros veinticinco años de cine en Madrid, 1896‒1920 (Madrid: Filmoteca Española, 1992).
Letamendi, Jon and Jean-Claude Seguin, Los orígenes del cine en Cataluña (Barcelona: Generalitat de Catalunya/Institut
Català de les Indústries Culturals, 2004).
スウェーデン
Robin Hood [pseud. of Bengt Idestam-Almquist], När filmen kom till Sverige ‒ Charles Magnusson och Svenska Bio(Stockholm: P.A. Norstedt & Söners förlag, 1959).
Robin Hood [pseud. of Bengt Idestam-Almquist], Filmstaden Göteborg: Hasselblads ‒ Georg af Klercker ‒ en bortglömd
epok (Gothenburg: Göteborgs stads jubileumsnämnd 350 år, 1971).
Werner, Gösta, Den svenska filmens historia (Stockholm: P.A. Nörstedt & Söners förlag, 1978).
Florin, Bo, Den nationella stilen: studier i den svenska filmens guldålder (Stockholm: Aura förlag, 1997).

18

Björkin, Mats, Amerikanism, bolsjevism och korta kjolar: filmen och dess publik i Sverige under 1920-talet (Stockholm:
Aura förlag, 1998).
Söderbergh Widding, Astrid, Stum film i brytningstid (Stockholm: Aura förlag, 1998).
Fullerton, John and Jan Olsson (eds.), Nordic Explorations: Film Before 1930 (Sydney: John Libbey, 1999).
タイ
Sukwong, Dome, Prawat phaphayon thai (Bangkok: Ongkan kha khoʼng khurusapha, 1990).
Barné, Scot, ʻEarly Thai Cinema and Filmmaking: 1897‒ 1922ʼ, Film History vol. 11 no. 3 (1999), pp. 308‒318.
トルコ
オスマン帝国とトルコを参照のこと
ウクライナ
Mislavskii, Vladimir, Faktograficheskaia istoriia kino v Ukraine. 1896‒1930 (Kharkiv: Torsing plus, 2013, 2 vols.).
⽶国
Jacobs, Lewis, The Rise of the American Film: A Critical History (New York: Harcourt & Brace, 1939; reprint, New York:
Teachers College Press, 1978).
Brownlow, Kevin, The Paradeʼs Gone By ... (New York: Alfred A. Knopf, 1968).
Balio, Tino, The American Film Industry (Madison: University of Wisconsin Press, 1976; second edition, 1985).
Everson, William K., The American Silent Film (New York: Oxford University Press, 1978).
Brownlow, Kevin, The War, the West, and the Wilderness (New York: Knopf, 1979).
May, Lary, Screening Out the Past: The Birth of Mass Culture and the Motion Picture Industry (New York and Oxford:
Oxford University Press, 1980).
Bordwell, David, Janet Staiger, and Kristin Thompson, The Classical Hollywood Cinema: Film Style & Mode of Production
to 1960 (New York: Columbia University Press, 1985).
Bowser, Eileen, The Transformation of Cinema: 1908‒1915 (New York: Scribnerʼs, 1990).
Koszarski, Richard, An Eveningʼs Entertainment: The Age of the Silent Feature Picture, 1915‒1928 (New York: Scribnerʼs,1990).
Musser, Charles, The Emergence of Cinema: The American Screen to 1907 (New York: Scribnerʼs, 1990).
Brownlow, Kevin, Behind the Mask of Innocence. Sex, Violence, Prejudice, Crime: Films of Social Conscience in the Silent
Era (New York: Knopf, 1991).

19

Bernardi, Daniel, The Birth of Whiteness: Race and the Emergence of U.S. Cinema (New Brunswick, NJ: Rutgers
University Press, 1996).
Keil, Charlie, Early American Cinema in Transition: Story, Style, and Filmmaking, 1907‒1913 (Madison: University of
Wisconsin Press, 2001).
Marantz Cohen, Paula, Silent Film and the Triumph of the American Myth (Oxford: Oxford University Press, 2001).
Gaudreault, André (ed.), American Cinema, 1890‒1909: Themes and Variations (New Brunswick, NJ: Rutgers University
Press, 2009).
Keil, Charlie and Ben Singer (eds.), American Cinema of the 1910s: Themes and Variations (New Brunswick, NJ: Rutgers
University Press, 2009)
Fischer, Lucy (ed.), American Cinema of the 1920s: Themes and Variations (New Brunswick, NJ: Rutgers University
Press, 2009).
Hallett, Hilary, Go West, Young Women! The Rise of Early Hollywood (Berkeley: University of California Press, 2013).
Lucia, Cynthia, Roy Grundmann, and Art Simon (eds.), The Wiley-Blackwell History of American Film. Vol. 1: American
Film to 1928 (Chichester, W. Sussex: Blackwell, 2013).
Bridges, Melody and Cheryl Robson, Silent Women: Pioneers of Cinema (Twickenham: Supernova Books, 2016).
Horak, Laura, Girls Will Be Boys: Cross-Dressed Women, Lesbians, and American Cinema (New Brunswick, NJ: Rutgers
University Press, 2016).
Vernet, Marc, Ainsi naquit Hollywood. Avant lʼâge dʼor, les ambitions de la Triangle et les premiers studios (Paris: Armand
Colin, 2018).
ウルグアイ
Hintz, Eugenio and Graciela Dacosta, Historia y filmografia del cine uruguayo (Montevideo: Ediciones de la Plaza, 1988).
Zapiola, Guillermo, ʻEl cine mudo en Uruguayʼ, in Héctor García Mesa and Teresa Toledo (eds.), Cine latinoamericano(1986‒1930). Fundación del Nuevo Cine Latinoamericano (Caracas: Consejo Nacional de la Cultura, Fondocine,
Fundacine UC, 1992), pp. 319‒332.
Torello, Georgina, La conquista del espacio. Cine silente uruguayo, 1915‒1932 (Montevideo: Editorial Yaugurú, 2018).
ベネズエラ
Hernández, Tulio (ed.), Panorama histórico del cine en Venezuela, 1896‒1993 (Caracas: Fundación Cinemateca Nacional,
1997).
Caropreso Ponce, Luis, Breve historia del cine nacional, 1909‒1964 (Caracas: Consejo Nacional de Cultura [CONAC]/
Cinemateca Nacional de Venezuela, n.d. [1993]).

20

第 1 章 画素 (pp. 11‒28)
Solomon, Matthew, Fantastic Voyages of the Cinematic Imagination. Georges Mélièsʼs Trip to the Moon (Albany: State
University of New York Press, 2011).
Cherchi Usai, Paolo, ʻEarly Films in the Age of Content; or, “Cinema of Attractions” Pursued by Digital Meansʼ, in André
Gaudreault, Nicolas Dulac, and Santiago Hidalgo (eds.), A Companion to Early Cinema (Malden, MA: Wiley-Blackwell,2012), pp. 527‒549.

1 複写 (pp. 13‒14)
Rodowick, David, The Virtual Life of Film (Cambridge, MA, and London: Harvard University Press, 2007).
Fournier, Caroline and Jeanne Pommereau, ʻPour une relecture de lʼéthique de la restauration et de la diffusion à lʼaune
du progrès techniqueʼ, Journal of Film Preservation, no. 104 (April 2021), pp. 13‒24.

2 市場 (pp. 14‒16)
Loiperdinger, Martin (ed.), Celluloid Goes Digital. Historical-Critical Editions of Films on DVD and the Internet.
Proceedings of the First International Trier Conference on Film and New Media, October 2002 (Trier: Wissenschaftlicher
Verlag Trier, 2003).
Crisp, Virginia and Gabriel Menotti Gonring, Besides the Screen: Moving Images Through Distribution, Promotion andCuration (Basingstoke, Hants., and New York: Palgrave, 2015).
Mazzanti, Nicola; European Commission, Directorate-General for the Information Society and Media; Peacefulfish; IPR;Red Cat Technologies, Challenges of the Digital Era for Film Heritage Institutions (Luxembourg: Publications Office,2011; Executive Summary, 2012): https://www.ace-film.eu/wp-content/uploads/2012/05/final_report_en.pdf
Danard, Benoît, LʼÉconomie des films de patrimoine (Paris: Centre national du cinéma et de lʼimage animée, 2020),
https://www.cnc.fr/documents/36995/1118512/Lʼéconomie+des+films+de+patrimoine.pdf/2d83211c-f9ac-eab5-dce2b1f0f8537455

3 アウラ (pp. 17‒18)
Benjamin, Walter, ʻDas Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeitʼ, first published in translation by
Pierre Klossowski as ʻLʼŒuvre dʼart à lʼépoque de sa reproduction mécaniséeʼ, Zeitschrift für Sozialforschung vol. 5 no. 1(Paris: Alcan, 1936), pp. 40‒66; English translation, The Work of Art in the Age of Mechanical Reproduction (London:
Penguin, 2008).
Hansen, Miriam Bratu, Cinema and Experience: Siegfried Kracauer, Walter Benjamin, and Theodor W. Adorno (Berkeley:
University of California Press, 2012).
Mannoni, Laurent, Louis Lumière, au secours! (Bresson: Edizione degli Intoccabili, 2018).

4 マイグレーション (pp. 18‒20)

21

Kokaram, Anil, Motion Picture Restoration. Digital Algorithms for Artefact Suppression in Degraded Motion Picture Filmand Video (London: Springer-Verlag, 1998).

Project FIRST: Film Conservation and Restoration Strategies. State of the Art Reports (Brussels: European
Commission/Information Society, 2003; CD-Rom).
Science and Technology Council of the Academy of Motion Picture Arts and Sciences, The Digital Dilemma (Los Angeles:
AMPAS, 2007; 2nd printing, 2008).
Thomsen, Michael, “Microsoft and Warner Bros. reveal new technique to preserve films by using lasers to carve theminto virtually indestructible hard silica glass which can last up to 1,000 years”, Daily Mail [London], 4 November 2019:https://www.dailymail.co.uk/sciencetech/article-7648681/Microsoft-Warner-Bros-reveal-new-technique-preserve-oldfilms-using-lasers-glass.html
Walsh, David, “Eternal Digital Storage: The Impossible Dream”, Journal of Film Preservation, no. 108 (April 2023), pp. 3338.

5 倫理 (pp. 20‒22)
International Federation of Film Archives, Code of Ethics (Brussels: FIAF, 1998; 3rd edition, 2008).

6 偽薬 (pp. 22‒24)
Fossati, Giovanna, From Grain to Pixel (Amsterdam: Amsterdam University Press, 2009; revised edition, 2018).
Bordwell, David, Pandoraʼs Digital Box: Films, Files, and the Future of Movies (Madison, WI: The Irvington Way InstitutePress, 2012; eBook: http://www.davidbordwell.net/books/pandora.php).

7 コンテンツ (pp. 24‒26)
Thompson, Kristin, ʻThe Celestial Multiplexʼ, in www.davidbordwell.net, 27 March 2007; reproduced in Paolo Cherchi
Usai, David Francis, Alexander Horwath, and Michael Loebenstein, Film Curatorship: Archives, Museums, and the DigitalMarketplace (Vienna: Synema ‒ Gesellschaft für Film und Medien/Österreichisches Filmmuseum, 2008), pp. 216‒221.
Cherchi Usai, Paolo, ʻArchival Cinemaʼ, in Rob Stone, Paul Cooke, Stephanie Dennison, and Alex Marlow-Mann (eds.),
The Routledge Companion to World Cinema (London and New York: Routledge, 2018), pp. 426‒435.

8 パフォーマンス (pp. 27‒28)
Loiperdinger, Martin (ed.), Early Cinema Today: The Art of Programming and Live Performance (New Barnet, Herts.: John
Libbey, 2012).
Blawat, Meinolf, Jean Bolot, and Christophe Diot, ʻStoring Movies in DNAʼ, Innovation in Motion (Summer 2015), pp. 38‒
42.

Digital(e) ‒ Lʼargentique à lʼheure du numérique (Marseille: Éditions commune/lʼAbominable/Film flamme, 2015).
［映画作品］

22

What Do Those Old Films Mean? (Noël Burch, Channel 4 TV, UK 1985, six episodes of 26ʼ each).
Side by Side (Christopher Kenneally, US 2012, 99ʼ).
Cinema Futures (Michael Palm, Österreichisches Filmmuseum, Austria/India/Norway/US 2016, 126ʼ).

第 2 章 セルロイド (pp. 29‒58)
Vitoux, Georges, La Photographie du mouvement: chronophotographie, kinétoscope, cinématographe (Paris: Chamuel,1896).
Jenkins, Charles Francis, Picture Ribbons: An Exposition of the Methods and Apparatus Employed in the Manufacture of
the Picture Ribbons Used in Projecting Lanterns to Give the Appearance of Objects in Motion (Washington, DC: [Press of
H.L. McQueen], 1897).
Gastine, Louis, La Chronophotographie sur plaque fixe et sur pellicule mobile (Paris: Gauthier-Villars, 1897).
Trutat, Eugène, La Photographie animée (Paris: Gauthier-Villars, 1899).
Vollmer, Henry, Lehrbuch der Photographie: mit besonderer Berücksichtigung der Filmphotographie und einem Anhangüber Bildmässige Photographie (Leipzig: Verlag von Aktiengesellschaft Fritzsche, 1905).
Hepworth, Cecil M., Animated Photography: The ABC of the Cinematograph: A Simple and Thorough Guide to theProjection of Living Photographs, With Notes on the Production of Cinematograph Negatives (London: Hazell, Watson, &Viney, 1897; 2nd edition, 1900; Hector Maclean, co-author).
Frippet, E., La Pratique de la photographie instantanée par les appareils à main, avec méthode sur les agrandissements
et les projections et notes sur le cinématographe (Paris: J. Fritsch, 1899).
Talbot, Frederick Arthur Ambrose, Moving Pictures. How They Are Made and Worked (London: Heinemann, 1912;
Philadelphia, PA: J.B. Lippincott & Co., 1914).
Welsh, Robert E., A-B-C of Motion Pictures (New York and London: Harper & Brothers, 1916).
Jones, Bernard E., The Cinematograph Book, a Complete Practical Guide to the Taking and Projecting of CinematographPictures (London: Cassell, 1915; 2nd edition, 1921).
Mariani, Vittorio, Guida pratica della cinematografia (Milan: Ulrico Hoepli, 1915; reprint, 1916; 2nd edition, 1923).
Faure, Jacques, LʼEntretien et lʼexploitation du cinéma. Comment on tourne, comment on fabrique, comment on exploite
un film (Paris: Éditions de ʻSciences et Voyagesʼ, n.d. [c.1925]).
Brayer, Elizabeth, George Eastman: A Biography (Rochester, NY: University of Rochester Press, 1996).
Braun, Marta, ʻChronophotographyʼ, in Nancy M. Mathews (ed.), Moving Pictures: American Art and Early Film, 1880‒
1910 (Manchester, VT: Hudson Hills, 2005), pp. 95‒99.

23

Spehr, Paul, The Man Who Made Movies: W.K.L. Dickson (New Barnet, Herts.: John Libbey, 2008).
Lecointe, Thierry, Pascal Fouché, Robert Byrne and Pamela Hutchinson, Discovering Lost Films by Georges Méliès in

Fin-de-siècle Flip Books, 1896‒1901/Des fragments de films Méliès disparus ressuscités par des flip books, 1896‒1901(New Barnet, Herts.: John Libbey, 2020).

2 乳剤 (pp. 37‒39)
del Amo García, Alfonso, Inspección técnica de materiales en el archivo de una filmoteca (Madrid: Filmoteca Española,1996).
Fernández Colourado, Luis, Rosa Cardona Arau, Jennifer Gallego Christensen, and Encarnación Rus Aguilar, Los soportes
de la cinematografía 1 (Madrid: Filmoteca Española, 1999).
Catalina, Fernando, and Alfonso del Amo García, Los soportes de la cinematografía 2 (Madrid: Filmoteca Española, 1999,
in Spanish and English).
Shanebrook, Robert L., Making Kodak Film (Rochester, NY: Robert L. Shanebrook, 2016; 2nd edition).

3 ベース (pp. 39‒42)
Duncan, Patsy, ʻCelluloid ™: Cecil M. Hepworth, Trick Film, and the Material Prehistory of the Plastic Imageʼ, Film History
vol. 31 no. 4 (2019), pp. 92‒112.
［映画作品］

Secrets of a World Industry ‒ The Making of Cinematograph Film [Vanity Fair Pictorials, Issue 13] (Walturdaw Company,
UK 1922, 8ʼ).

Highlights and Shadows (James Sibley Watson Jr, US 1938, 55ʼ).

4 形状 (pp. 42‒45)
Belton, John, ʻThe Origins of 35mm Film as a Standardʼ, SMPTE Journal vol. 99 no. 8 (August 1990), pp. 652‒661.
Göllner, Peter, Ernemann Cameras: Die Geschichte des Dresdener Photo-Kino-Werks (Hückelhoven: Wittig
Fachbuchverlag, 1995).
Spehr, Paul C., ʻUnaltered to Date: Developing 35mm Filmʼ, in John Fullerton and Astrid Söderbergh-Widding (eds.),
Moving Images: From Edison to the Webcam (Sydney: John Libbey, 2000).
Spira, Siegfried Franz (Fred), The History of Photography as Seen Through the Spira Collection (New York: Aperture,2001).
Meusy, Jean-Jacques, ʻUn Astronome dans le monde du showbiz: Henry Chrétien, père du Cinémascopeʼ, Cinegrafie vol.
XV no. 16 (2003), pp. 226‒243.
Mebold, Anke, Martina Roepke, and Dan Streible, ʻNontheatrical filmʼ, monograph issue of Film History vol. 19 no. 4(2007).

24

Moules, Patrick (ed.), The 9.5mm Vintage Film Encyclopedia (Kibworth Beauchamp, Leicestershire: Matador, 2020).
Gourdet-Marès, Anne, ʻRetour sur la chronologie dʼune invention: les brevets du Pathé-Babyʼ, Journal of Film
Preservation no. 107 (October 2022), pp. 75-82.

5 フレーム (pp. 46‒48)
Hovet, Ted, ʻThe Persistence of the Rectangleʼ, Film History vol. 29 no. 3 (Fall 2017), pp. 136‒168.
Perforations (pp. 35‒37)

Standards Adopted by the Society of Motion Picture Engineers (Washington, DC: Society of Motion Picture Engineers,
1917).

7 エッジ (pp. 52‒55)
Löbel, Léopold, ʻMachines à brosser et à signerʼ, in La Technique cinématographique (Paris: Dunod et Pinat, 1912), pp.
204‒206; 2nd edition, revised and expanded (Paris: Dunod, 1922), pp. 209‒211.

8 接合 (pp. 55‒58)
Godefroy, Thomas, ʻQuand lʼamateur sʼy colle. (Modes dʼ) emploi de la presse à coller dans le cinéma amateur entre 1910
et 1930ʼ, Journal of Film Preservation no. 98 (April 2018), pp. 33‒39.
Gaudreault, André, and Laurent Le Forestier, De lʼassemblage au montage cinématographique. Instauration etstandardisation dʼune pratique (Montreal: Les Presses de lʼUniversité de Montréal, 2022).

第 3 章 ⾊彩 (pp. 59‒82)
Coe, Brian, ʻThe Development of Colour Cinematographyʼ, in Roger Manvell (ed.), The International Encyclopedia of Film
(New York: Crown, n.d. [1972]), pp. 29‒32.
Nowotny, Robert A., The Way of All Flesh Tones: A History of Color Motion Picture Processes, 1895‒1929 (New York andLondon: Garland, 1983).
Ledig, Elfriede and Gerhard Ullmann, ʻRot wie Feuer, Leidenschaft, Genie, Wahnsinn. Zu einigen Aspekten der Farbe im
Stummfilmʼ, in Elfriede Ledig (ed.), Der Stummfilm. Konstruktion und Rekonstruktion (Munich: Schaudig, Bauer, Ledig,
1988), pp. 89‒116.
Hertogs, Daan and Nico de Klerk (eds.), Disorderly Order. Colours in Silent Film (Amsterdam: Stichting Nederlands
Filmmuseum, 1996).
Read, Paul, ʻ“Unnatural Colours”: An Introduction to Colouring Techniques in Silent Era Moviesʼ, Film History vol. 21 no. 1(June 2009), pp. 9-46.

25

Yumibe, Joshua, Moving Color: Early Film, Mass Culture, Modernism (New Brunswick, NJ: Rutgers University Press,2012).
Brown, Simon, Sarah Street, and Liz Watkins (eds.), Color and the Moving Image: History, Theory, Aesthetics, Archive(New York: Routledge, 2012).
Fletcher, Alicia and Joshua Yumibe, ʻFrom Nitrate to Digital Archive: The Davide Turconi Projectʼ, The Moving Image vol.
13 no. 1 (2013), pp. 1‒32.
Morrissey, Priska and Céline Ruivo (eds.), Le Cinéma en couleurs. Usages et procédés avant la fin des années 1950.
Special issue of 1895 no. 71 (Winter 2013).
Gunning, Tom, Joshua Yumibe, Giovanna Fossati, and Jonathon Rosen, Fantasia of Color in Early Cinema (Amsterdam:
Eye Filmmuseum/Amsterdam University Press, 2015).
Flueckiger, Barbara, ʻA Digital Humanities Approach to Film Colorsʼ, The Moving Image vol. 17 no. 2 (Fall 2017), pp. 71‒
94.
Street, Sarah, and Joshua Yumibe, Chromatic Modernity. Color, Cinema, and Media of the 1920s (New York: Columbia
University Press, 2019).
［ウェブサイト］
The Davide Turconi/Josef Joye Collection of 35mm nitrate frames at the George Eastman Museum, Rochester NY:
http://www.cinetecadelfriuli.org/progettoturconi/database.html
The Edith Schlemmer Collection of 35mm nitrate frames at the Österreichisches Filmmuseum, Vienna:
https://www.filmmuseum.at/en/collections/special_collections/schlemmer_frame_collection
Timeline of Historical Film Colors, http://zauberklang. ch/filmcolors/

1 ⼿彩⾊ (pp. 61‒63)
Brown, Harold G., An Account of the Hand and Stencil Colouring Processes (London, document mimeographed by theauthor and distributed at the FIAF Berlin Congress, 1967), published in Italian as ʻTecniche di colourazione a mano e apochoirʼ, Griffithiana vol. 10 nos. 26‒27 (September 1986), pp. 72‒73.
Malthête, Jacques, ʻLes Bandes cinématographiques en couleurs artificielles. Un example: les films de Georges Méliès
coloriés à la mainʼ, 1895 no. 2 (April 1987), pp. 3‒10.
Coupry, Claude, Françoise Froment, and Jacques Malthête, ʻLa Microspectrométrie Raman dans lʼanalyse des premiers
films en couleursʼ, CoRé no. 16 (February 2006), pp. 29‒33.
Bottomore, Stephen, ʻThe Early Film Colorists Speakʼ, Film History vol. 28 no. 4 (2016), pp. 159‒181.
Amanda Scherker, ʻThe Forgotten Women Who Hand-Painted the First Color Filmsʼ, in Artsy, 10 April 2019,https://www.artsy.net/article/artsy-editorial-forgotten-women-hand-painted-first-color-films.

2 ステンシル (pp. 63‒66)
26

Ruot, Marcel and Louis Didiée, ʻThe Pathé Kinematograph Colour Processʼ, The Photographic Journal, new series, vol. 65
no. 3 (March 1925), pp. 121‒126.
Marette, Jacques, ʻLes Procédés de coloriage mécanique des filmsʼ, Bulletin de lʼAssociation Française des Ingénieurs et
Techniciens du Cinéma vol. 7 (1950), pp. 3‒8; reproduced in Journal of Film Preservation vol. 22 no. 47 (October 1993),
pp. 54‒59.

3 染⾊ (pp. 66‒70)
Tinting and Toning of Eastman Motion Picture Film (Rochester, NY: Eastman Kodak Company, 1916, 1918 [2nd edn.],
1922 [3rd edn.], 1924 [4th edn.], 1927 [5th edn.]).
Didiée, Louis, ʻOpérations postérieures au développement des positifsʼ; ʻFilm à support teinté Pathéʼ, in Le Film vierge
Pathé. Manuel de développement et de tirage (Paris: Établissements Pathé-Cinéma, 1926), pp. 123‒138, 139‒141.

AGFA Kine-Handbuch, IV, Film-Muster-Tabellen; English version, Kine Handbook; Spanish version, Manual decinematografía AGFA (s.l. [Wolfen], n.d. [c. 1929]).
New Color Moods for the Screen (Rochester, NY: Eastman Kodak Company, n.d. [c. 1928]).
Crabtree, John I. and Charles E. Ives, ʻTinting and Toning Motion Picture Filmʼ, in Hal Hall (ed.), Cinematographic Annual,Vol. 2 (Hollywood, CA: The American Society of Cinematographers, 1931), pp. 576‒590.

4 調⾊ (pp. 70‒71)
Löbel, Léopold, ʻLes Nouveaux procédés de virage par mordançageʼ, Bulletin de la Société Française de Photographie vol.
63, 3rd series, vol. VIII no. 3 (March 1921), pp. 78‒80.
Crabtree, John I. and Charles E. Ives, ʻDye Toning With Single Solutionʼ, Abridged Scientific Publications from the Kodak
Research Laboratories, Vol. 12 (1928), pp. 249‒253.
Nickolaus, John M., ʻToning Positive Film by Machine Methodsʼ, Journal of the Society of Motion Picture Engineers vol. 38(July 1936), p. 67.
Ruedel, Ulrich, ʻVisual Appearance of Silent Era Toning: Silver-Iodide-Based Mordant Colours in the Agfa Kine-Handbuch
and the Joseph Joye Collectionʼ, Journal of Film Preservation no. 98 (April 2018), pp. 61‒67.
Fossati, Giovanna, Victoria Jackson, Bregt Lameris, Elif Rongen-Kaynakçı, Sarah Street, and Joshua Yumibe, The Colour
Fantastic. Chromatic Worlds of Silent Cinema (Amsterdam: Amsterdam University Press, 2018).

5 シンセシス (pp. 71‒73)
Mees, Charles Edward Kenneth, ʻThe Processes of Color Photography. III. Color Cinematographyʼ, The Journal ofChemical Education vol. 6 no. 1 (January 1929), pp. 44‒51.
ʻThe Brewster Colour Processʼ, The Photographic Journal, Royal Photographic Society of Great Britain, vol. 75 (newseries, vol. 59), August 1935; reproduced in Roderick T. Ryan, A Study of the Technology of Color Motion Picture27

Processes Developed in the United States. Doctoral thesis presented September 1966 at the University of Southern
California (published Ann Arbor, MI: University Microfilms International, 1979), p. 150.
ʻKodacolor Finishing Stationsʼ, in Hal Hall (ed.), Cinematographic Annual, Vol. 2 (Hollywood, CA: The American Society ofCinematographers, 1931), p. 591.

6 キネマカラー (pp. 73‒76)
Anon., Kinemacolor and Some American Criticisms (London: The Natural Color Kinematograph Co., 1910).
Anon., Handbook (London: The Natural Color Kinematograph Co., 1910).
Bennett, Colin N., On Operating Kinemacolor (London: The Kinematograph and Lantern Weekly, n.d. [1910]).
Joy, Henry W., Book of Instructions for Operators of Kinemacolor Appliances (London: The Natural Color Kinemagraph
Co., 1910).
Bennett, Colin N., ʻFilter Absorptions for Two-Colourʼ, British Journal of Photography [Supplement on Colour
Photography] (7 July 1911), p. 45.
Bennett, Colin N., The Handbook of Kinematography (London: The Kinematograph Weekly, 1911).
Smith, George Albert, ʻThe Kinemacolor Processʼ, The Moving Picture News vol. 5 (9 March 1912), pp. 12‒17.
Urban, Charles, ʻKinemacolor Press Appreciations: British, Continental and Americanʼ [collection of articles, n.d., at the
Science Museum Library, London].

Catalogue of Kinemacolor Film Subjects. Animated Scenes in Their Actual Colors (London: The Natural Color
Kinematograph Co., 1913).
Kindem, Gorham, ʻThe Demise of Kinemacolor: Technological, Legal, Economic and Aesthetic Problems in Early Color
Historyʼ, Cinema Journal vol. 20 no. 2 (Spring 1981), pp. 3‒14.

7 クロノクローム (pp. 76‒77)
Le Film colorié Gaumont (Paris: L. Gaumont, 1912).
Filmparlants (Talking Pictures) and Chronochrome Gaumont (Flushing, Long Island, NY: Gaumont Company, 1913).
Gaumont-Color 1913‒1914 (Paris: École Technique de Photographie et de Cinématographie, 1914).
Baudry de Saunier, Louis, ʻLa Cinématographie en couleurs naturellesʼ, LʼIllustration (Paris) no. 4010 (10 January 1920),
pp. 27‒30.

Établissements Gaumont, 1895‒1929 (Paris: Imprimerie Gauthier-Villars, n.d. [1935]).
Cherchi Usai, Paolo, ʻLe Miracle du Chronochromeʼ, Cinémathèque (Paris) no. 3 (Spring/Summer 1993), pp. 83‒91.

28

Corcy, Marie-Sophie, Jacques Malthête, Laurent Mannoni, Jean-Jacques Meusy (eds.), Les Premières années de lasociété L. Gaumont et Cie (Paris: Association Française de Recherche sur lʼHistoire du Cinéma/Bibliothèque duFilm/Gaumont, 1999).
Pranchère, Victor, ʻLa Sortie du laboratoire ou les stratégies dʼexploitation du procédé trichrome de cinématographie encouleurs de la Société des Établissements Gaumont (1913‒1921)ʼ, 1895 no. 71 (Winter 2013), pp. 61‒80.

8 ハンドシーグル (pp. 77‒79)
Van Doren Kelley, William, ʻImbibition Coloring of Motion Picture Filmsʼ, Transactions of the Society of Motion Picture
Engineers vol. 10 no. 28 (October 1926), pp. 238‒241.
Van Doren Kelley, William, ʻThe Handschiegl and Pathéchrome Color Processesʼ, Journal of the Society of Motion Picture
Engineers vol. 17 no. 2 (August 1931), pp. 229‒234.
Jarman, Derek, Chroma (Woodstock, NY: The Overlook Press, 1994).

9 テクニカラー (pp. 79‒82)
Haines, Richard W., Technicolor Movies: The History of Dye Transfer Printing (Jefferson, NC: McFarland, 1993).
Kalmus, Herbert T., with Eleanore King Kalmus, Mr. Technicolor (Absecon, NJ: MagicImage Filmbooks, 1993).
Layton, James and David Pierce, The Dawn of Technicolor, 1915‒1935 (Rochester, NY: George Eastman House, 2015).
［ウェブサイト］
The Technicolor Papers at George Eastman Museum: http://technicolor.eastman.org/ technicolor-online-researcharchive

第 4 章 機材 (pp. 83‒116)
Coissac, Guillaume-Michel, La Théorie et la pratique des projections (Paris: Maison de la Bonne Presse, n.d. [1906]).
Ducom, Jacques, Le Cinématographe scientifique et industriel. Traité pratique de cinématographie (Paris: Librairie desSciences et de lʼIndustrie/L. Geisler, 1911).
Löbel, Léopold, La Technique cinématographique (Paris: Dunod et Pinat, 1912; 2nd edition, revised and expanded, Paris:
Dunod, 1922; 3rd edition, revised and expanded, Paris: Dunod, 1927).
Hulfish, David S., Motion-Picture Work: A General Treatise on Picture Taking, Picture Making, Photo-Plays, and Theater
Management and Operation (Chicago, IL: American Technical Society, 1911; reprints, 1913, 1915, and 1918); also
reprinted as Cyclopedia of Motion-Picture Work (Chicago, IL: American Technical Society, 1914, 2 vols.).
Thun, Rudolf, Der Film in der Technik (Berlin: VDI-Verlag, 1924).

29

Richardson, Frank H., ʻWhat Happened in the Beginningʼ, Transactions of the Society of Motion Picture Engineers vol. 9
no. 22 (September 1925), pp. 63‒114.

Hilfsbuch für den Kameramann (Halle [Saale]: W. Knapp, 1926).
Vivié, Jean, Traité général de technique du cinéma. Tome 1: Historique et développement de la techniquecinématographique (Paris: Bureau de Presses et dʼInformations, 1946).
Fielding, Raymond (ed.), A Technological History of Motion Pictures and Television: An Anthology from the Pages of the
Journal of the Society of Motion Picture and Television Engineers (Berkeley: University of California Press, 1967; reprint,1984).
Coe, Brian, The History of Movie Photography (London: Ash & Grant, 1981).
Robinson, Jack Fay, Bell & Howell Company. A 75-Year History (Chicago, IL: Bell & Howell Company, 1982).
Ehrenberg, John M. and Laurence J. Roberts, ʻSeventy-Five Years of Motion-Picture Standards: Contributions of the Bell& Howell Co.ʼ, SMPTE Journal vol. 92 no. 10 (October 1983), pp. 1058‒1065.
Salt, Barry, Film Style and Technology: History and Analysis (London: Starword, 1983; 3rd edition, 2009).
Enticknap, Leo, Moving Image Technology: From Zoetrope to Digital (New York: Wallflower Press, 2005).
Turquety, Benoît, Inventer le cinéma: épistemologie, problèmes, machines (Lausanne: Éditions lʼÂge dʼHomme, 2014).
Cleveland, David and Brian Pritchard, How Films Were Made and Shown. Some Aspects of the Technical Side of Motion
Picture Film, 1895‒2015 (Manningtree, Essex: David Cleveland, 2015).
Fossati, Giovanna and Annie van den Oever, Exposing the Film Apparatus: The Film Archive as a Research Laboratory(Amsterdam: Amsterdam University Press, 2016).
Mannoni, Laurent (ed.), La Machine cinéma. De Méliès à la 3D (Paris: La Cinémathèque française/Lienart, 2016).
Benoît Turquety, Inventing Cinema: Machines, Gestures and Media History (Amsterdam: Amsterdam University Press,2019).
［ジャーナル］

Revue scientifique et technique de lʼindustrie cinématographique et des industries qui sʼy rattachent (Paris), 1912‒1914.
Transactions of the Society of Motion Picture Engineers (1916‒1929).
Die Kinotechnik (1919‒1943).
The American Cinematographer, 1920‒present.
Science, technique et industrie photographiques (1921‒1923), later renamed Science et industrie photographiques(1924‒1968).

Die Filmtechnik (1925‒1943).

30

［ウェブサイト］
Cinémathèque française, Paris: http://www.cinematheque.fr/fr/catalogues/appareils/George Eastman Museum, Rochester, NY: http://collections.eastman.org/collections/20333/technology/objects
Industrie- und Filmmuseum, Wolfen: http://www.ifm-wolfen.de/de/
Kent Museum of the Moving Image, Deal: https://www.kentmomi.org
Musée des arts et métiers, Paris: http://www.arts-et-metiers.net/musee/recherche-sur-les-collections
Museo Nazionale del Cinema ‒ Fondazione Maria Adriana Prolo, Turin, Italy: http://www.museocinema.it/collezioni
Nàrodní technické muzeum (National Technical Museum): Prague http://www.ntm.cz/en/en-expozice/fotografickyatelier
National Science and Media Museum, Bradford:
http://collection.sciencemuseum.org.uk/search/objects/images/categories/Cinematograph
The Projected Picture Trust: www.ppttrust.org
Stiftung Deutsche Kinemathek, Berlin: https://www.deutsche-kinemathek.de/en
Technès ‒ International Research Partnership on Cinema Technology: www.technes.org

1 撮影機 (pp. 85‒88)
Marzola, Luci, “A Society Apart: The Early Years of the Society of Motion Picture Engineers”, Film History vol.
28, no. 4, 2016, pp. 1‒28.
［映画作品］

Mestʼ kinematograficeskogo operatora (Wladyslaw Starewicz, Chanžonkov, Russia 1912, 14ʼ).
Lysyi kinooperator (R. [?] Reynolʼs, Drankov, Russia 1916, 10ʼ).

2 レンズ (pp. 88‒90)
Daigle, Allain, “ʻThe End of a Foreign Monopolyʼ: Bausch and Lomb and the Wartime Provenance of Optical Glass”, in
Joanne Bernardi, Paolo Cherchi Usai, Tami Williams and Joshua Yumibe (eds.), Provenance and Early Cinema(Bloomington: Indiana University Press, 2020), pp. 192‒202.

3 現像 (pp. 90‒96)
Didiée, Louis, Le Film vierge Pathé. Manuel de développement et de tirage (Paris: Établissements Pathé-Cinéma, 1926).

AGFA Kine-Handbuch, I. Allgemeiner Teil; II. Negativ-Film; III, Positiv-Film; IV, FilmMuster-Tabellen; English version,
Kine Handbook; Spanish version, Manual de cinematografía AGFA (s.l. [Wolfen], n.d. [c. 1929], 3 vols.).

31

Polzer, Joachim (ed.), Zur Geschichte des Filmkopierwerks ‒ A Short History of Cinema Post-Production (Potsdam: Polzer
Media Group, 2006 [Series ʻWeltwunder der Kinematographie. Beiträge zu einer Kulturgeschichte der Filmtechnikʼ, 8]).
Malthête, Jacques and Stéphanie Salmon (eds.), Recherches et innovations dans lʼindustrie du cinéma: les cahiers desingénieurs Pathé, 1906‒1927 (Paris: Fondation Jérôme Seydoux-Pathé, 2017).

5 映写機 (pp. 99‒104)
Le Fraper, Charles, Les Projections animées. Manuel pratique à lʼusage des directeurs de cinéma, des opérateurs et detoutes les personnes qui sʼintéressent à la cinématographie (Paris: Éditions du Courrier Cinématographique, n.d. [1913]).
Richardson, Frank Herbert, Motion Picture Handbook. A Guide for Managers and Operators of Motion Picture Theatres(New York: The Moving Picture World, 1910; 2nd edition, 1912; 3rd edition, 1916; 4th edition, Richardsonʼs Handbook ofProjection for Theatre Managers and Motion Picture Projectionists, New York: Chalmers Publishing Company, 1922; 5thedition, 1927, 2 vols.).
Rousset, Henri, Pour le photographe et le cinéma; recettes, procédés, formules, tours de mains et ʻtrucsʼ divers pour laphoto et le cinématographe, pour lʼamateur et le professionnel (Paris: Dunod, 1927).
Cameron, James R., Motion Picture Projection (Manhattan Beach, NY: Cameron Publishing Company, 1928).
Joachim, Hermann, Die Kinematographische Projektion, part of a series by Guido Seeber and F. Paul Liesegang (eds.),
Handbuch der Praktischen Kinematographie. Band III: Die Vorführung des Films. 1. Teil (Halle [Saale]: Wilhelm Knapp,
1928).
［ジャーナル］

The American Projectionist (American Projection Society, 1923‒1931).
［映画作品］[Ein neuer Apparat zur Verhütung von Kinobränden] (Germany, 1912, 3ʼ).

6 シャッター (pp. 104‒107)
Marbe, Karl, Theorie des Kinematographischen Projektionen (Leipzig: Johann Ambrosius Barth, 1910).

7 ランプハウス (pp. 107‒110)
Rousseau, A., Notes pratiques dʼélectricité à lʼusage des projectionnistes (Paris: Charles-Mendel, n.d. [190‒?]).
Cameron, James R., Electricity for the Motion Picture Operator (New York: Technical Book Co., 1922).
Magdsick, H. Herbert and Carl E. Egeler, Motion Picture Projection With Mazda Lamps: A Practical Discussion of the
Principles of Mazda Lamp Projection and Their Application (Cleveland, OH: Engineering Dept., National Lamp Works ofGeneral Electric Co., 1922).

32

8 リール (pp. 110‒113)
Soar, Matthew, ʻThe Beginnings and Ends of Film: Leader Standardization in the United States and Canada (1930‒1999)ʼ,The Moving Image vol. 16 no. 2 (2016), pp. 21‒44.

9 ツール (pp. 113‒116)
Re, Guglielmo, Il cinematografo (Milan: Ulrico Hoepli, 1907).

Price List of Everything Required for the Bioscope Business from the Theatre to the Films (London: The ʻWalturdawʼ
Company, 1908).
Wolf-Czapek, Karl Wilhelm, Die Kinematographie. Wesen, Entstehung und Ziele des lebenden Bildes (Dresden: Union
Deutsche Verlagsgesellschaft, 1908).
Liesegang, F. Paul, Handbuch der praktischen Kinematographie (Leipzig: Edition Liesegangʼs Verlag, 1908).
Lehmann, Hans, Die Kinematographie. Ihre Grundlagen und ihre Anwendungen (Leipzig: Teubner, 1911).
Jones, Bernard E., How to Make and Operate Moving Pictures (New York and London: Funk & Wagnalls, 1916).
Schrott, Paul, Leitfaden für Kinooperateure und Kinobesitzer (Vienna and Leipzig: Waldheim Eberle/Otto Klemm, 1919).
［映画作品］

Sprockets and Splices. A Little Journey to the Source of Film Damage and Poor Presentation (Earl J. Denison, Famous
Players-Lasky/Paramount, US 1923, 25ʼ).

第 5 章 ⼈材 (pp. 117‒153)［ウェブサイト］
Whoʼs Who of Victorian Cinema: http://www.victorian-cinema.net
Women Film Pioneers Project: https://wfpp.cdrs.columbia.edu

1 アマチュア (pp. 119‒121)
Talbot, Frederick A., Practical Cinematography and Its Applications (Philadelphia, PA, and London: J.B.
Lippincott/Heinemann, 1913).
Frenk, Willy, Der Kino-Amateur (Berlin: Verlag Guido Hackebeil, 1926).
Schmidt, Hans, Kino-Taschenbuch für Amateure und Fachleute (Berlin: Union Deutsche Verlagsgesellschaft, 1926).
Frerk, Friedrich W., Der Kino-Amateur: ein Lehr- und Nachschlagebuch (Berlin: G. Hackebeil, n.d. [c. 1926]).

33

Cameron, James R., Amateur Movie Craft (New York: Cameron Publishing Company, 1928).
Herrnkind, Otto Paul, Die Schmalfilm Kinematographie. Ein Leitfaden für Fachleute und Amateure (Vienna and Leipzig: A.
Hartlebenʼs Verlag, 1929).
Auer, Michel, Histoire de la caméra ciné amateur (Paris: Éditions de lʼAmateur, 1979).
Zimmerman, Patricia R., Reel Families: A Social History of Amateur Film (Bloomington: Indiana University Press, 1995).
Kattelle, Alan, Home Movies. A History of the American Industry, 1897‒1979 (Nashua, NH: Transition Publishing, 2000).
Stone, Melinda and Dan Streible, ʻSmall Gauge and Amateur Filmʼ, special issue of Film History vol. 15 no. 2 (2003).
Wade, John, Lights, Camera, Action! An Illustrated History of the Amateur Movie Camera (Atglen, PA: Schiffer Publishing,2014).
Abel, Richard, ʻThe “Much Vexed Problem” of Nontheatrical Distribution in the Late 1910sʼ, The Moving Image vol. 16 no.
2 (Fall 2016), pp. 91‒107.
Bernardi, Joanne, ʻNew Paths Toward Preserving Japanese Cinema: The Toy Film Museum Backstoryʼ, in Joanne Bernardi
and Shota T. Ogawa (eds.), Routledge Handbook of Japanese Cinema (London-New York: Routledge, 2021), pp. 346‒366.
［ウェブサイト］
Toy Film Museum, Kyoto: http://toy film-museum.jp/

2 起業家 (pp. 121‒125)
Seabury, William M., The Public and the Motion Picture Industry (New York: Macmillan, 1926).
Kennedy, Joseph P. (ed.), The Story of the Films, As Told by Leaders of the Industry to the Students of the Graduate
School of Business Administration, George F. Baker Foundation, Harvard University (Chicago and New York: A.W. Shaw
Company, 1927).
Friedman, Lester D., Hollywoodʼs Image of the Jew (New York: Frederick Ungar, 1982).
Gabler, Neal, An Empire of Their Own: How the Jews Invented Hollywood (New York: Random House, 1998).
Bowser, Pearl, Jane Gaines, and Charles Musser, Oscar Micheaux & His Circle: African-American Filmmaking and Race
Cinema of the Silent Era (Bloomington: Indiana University Press, 2001).
Melnick, Ross, American Showman: Samuel ʻRoxyʼ Rothafel and the Birth of the Entertainment Industry (New York:
Columbia University Press, 2014).
Bernardini, Aldo, Le imprese di produzione del cinema muto italiano (Bologna: Editrice Persiani, 2015).
Krefft, Vanda, The Man Who Made the Movies: The Meteoric Rise and Tragic Fall of William Fox (New York:
HarperCollins, 2017).

34

3 ファイナンサー (pp. 125‒126)
Huettig, Mae D., Economic Control of the Motion Picture Industry: A Study in Industrial Organization (Philadelphia, PA:
University of Philadelphia Press, 1944).
Jobes, Gertrude, Motion Picture Empire (Hamden, CT: Archon, 1966).

4 ライター(pp. 127‒129)
Sargent, Epes W., The Technique of the Photoplay (New York: The Moving Picture World, 1912; 2nd edition, 1913; 3rdedition, 1916).
Ball, Eustace Hale, The Art of the Photoplay (New York: Veritas Publishing Company, 1913).
Phillips, Henry A., The Photodrama; The Philosophy of Its Principles, the Nature of Its Plot, Its Dramatic Construction andTechnique, Illumined by Copious Examples, Together With a Complete Photoplay and a Glossary, Making the Work a
Practical Treatise (Larchmont, NY: The Stanhope-Dodge Publishing Company, 1914).
Gordon, William Lewis, How to Write Moving Picture Plays (Cincinnati: Atlas Publishing Company, 1915).
Ball, Eustace Hale, Photoplay Scenarios. How to Write and Sell Them (New York: Hearstʼs International Library Company,
1915).
Freeburg, Victor Oscar, The Art of Photoplay Making (New York: Macmillan, 1918).
Palmer, Frederick, Palmer Handbook of Scenario Construction (Los Angeles: Palmer Photoplay Corporation, 1920).
Patterson, Frances Taylor, Cinema craftsmanship. A Book for Playwrights (New York: Harcourt, Brace and Howe, 1920).
Wright, William L., Photoplay Writing (New York: Falk Publishing Co., 1922).
シナリオ作家協会（編）『⽇本シナリオ体系』第１巻 (東京: 映⼈社 1973).
Azlant, Edward, ʻScreenwriting for the Early Silent Film: Forgotten Pioneers, 1897‒1911ʼ, Film History vol. 9 no. 3 (1997),
pp. 228‒56.
Raynauld, Isabelle, ʻOriginal Screenplays, Collections, and Writing Practices in France Between 1896 and 1918ʼ, Film
History vol. 9 no. 3 (1997), pp. 257‒68.
Alovisio, Silvio, Voci del silenzio. La sceneggiatura nel cinema muto italiano (Milan: Il Castoro, 2007).

5 製作現場 (pp. 129‒132)
Jasset, Victorin, ʻÉtudes sur la mise en scène en cinématographieʼ, Ciné-Journal nos. 165‒8 and 170 (21 October‒26
November 1911); reprinted in Marcel Lapierre (ed.), Anthologie du cinéma (Paris: La Nouvelle édition, 1946), pp. 82‒98.
Rathbun, John B., Motion Picture Making and Exhibiting (Los Angeles: Holmes, 1914).
Croy, Homer, How Motion Pictures Are Made (New York: Harper, 1918).

35

Gregory, Carl L. (ed.), A Condensed Course in Motion Picture Photography (New York: New York Institute of
Photography, 1920; 2nd edition, Motion Picture Photography, 1927).
Boughey, Davidson, The Film Industry (London and New York: Pitman & Sons, 1921).
Lescarboura, Austin C., Behind the Motion-Picture Screen (New York: Scientific American Publishing Company/ Munn &Company, 1919; 2nd edition, 1922).
Milne, Peter, Motion Picture Directing (New York: Falk Publishing Company, 1922).
Hughes, Laurence (ed.), The Truth about the Movies ‒ By the Stars (Hollywood, CA: Hollywood Publishers, Inc., 1924).
McKay, Herbert C., The Handbook of Motion Picture Photography (New York: Falk Publishing Company, 1927).
Seeber, Guido, Der praktische Kameramann. 1 ‒ Band: Arbeits-Gerät und Arbeits-Stätten des Kameramannes (Berlin:
Verlag der ʻLichtbildbühneʼ, 1927; facsimile edition, Frankfurt am Main: Deutsches Filmmuseum, 1980).
Gregory, Carl L., Motion Picture Photography (New York: Falk Publishing Company, 1927).
Blakeston, Oswell, Through a Yellow Glass (London: Pool, 1928).
Patterson, Frances Taylor, Scenario and Screen (New York: Harcourt, Brace and Company, 1928).
Bell, Monta, ʻThe Director: His Problems and Qualificationsʼ, Theatre Arts Monthly vol. 13 no. 9 (September 1929), pp.
645‒9.
Koszarski, Richard (ed.), Hollywood Directors, 1914‒1940 (London, Oxford, and New York: Oxford University Press, 1976).
Pinchon, Jean-François (ed.), Rob.[ert] Mallet-Stevens: architecture, mobilier, décoration (Paris: Action Artistique deParis/Sers, 1986); English translation, Rob. Mallet-Stevens: Architecture, Furniture, Interior Design (Cambridge, MA: MIT
Press, 1990).
Kevin Brownlow, ʻBen Carréʼ, Griffithiana vol. 11 nos. 32‒3 (September 1988), pp. 20‒32.
Curtis, James, William Cameron Menzies: The Shape of Things to Come (New York: Pantheon Books, 2015).
Morrissey, Priska, Les As de la manivelle. Le métier dʼoperateur de prise de vues cinématographiques en France, 1895‒
1930 (Paris: Association française de recherche sur lʼhistoire du cinéma, 2021).

6 演技 (pp. 132‒134)
Agnew, Frances [pseud. of Frances May Scheuing], Motion Picture Acting. How to Prepare for Photoplaying; What
Qualifications Are Necessary; How to Secure an Engagement. Salaries Paid to Photoplayers (New York: Reliance
Newspaper Syndicate, 1913).
Blaché [Guy-Blaché], Alice, ʻWomanʼs Place in Photoplay Productionʼ, The Moving Picture World vol. 21 no. 2 (11 July
1914), p. 195.

36

Marsh, Mae, Screen Acting (New York and Los Angeles: Frederick A. Stokes/Photostar Publishing Company, 1921).
Klumph, Inez and Helen, Screen Acting (New York: Falk Publishing Company, 1922).
Jones, Charles R., Breaking into the Movies (New York: The Unicorn Press, 1927).
Pudovkin, Vsevolod Illarionovich, Aktior v filme (Leningrad: Gosudarstvennaia akademiia iskusstvoznaniia, 1934); English
translation, Film Acting (London: George Newnes, 1935).
Gunning, Tom, ʻThe Cinema of Attractions: Early Film, Its Spectator and the Avant-Gardeʼ, Wide Angle vol. 8 nos. 3‒4(1986), pp. 63‒70.
deCordova, Richard, Picture Personalities: The Emergence of the Star System in America (Urbana: University of Illinois
Press, 1990).
Pearson, Roberta, Eloquent Gestures: The Transformation of Performance Style in the Griffith Biograph Films (Berkeley:
University of California Press, 1992).
Mayer, David, ʻWhich Legacy of the Theatre? Acting in Silent Film: Some Questions and Some Problemsʼ, in Alan Lovell
and Peter Krämer (eds.), Screen Acting (London and New York: Routledge, 1999), pp. 10‒30.
Basinger, Jeanine, Silent Stars (New York: Knopf, 1999).
Bull, Sofia and Astrid Söderbergh Widding (eds.), Not So Silent: Women in Cinema Before Sound (Stockholm:
Acta Universitatis Stockholmiensis, 2010).
Bean, Jennifer M. (ed.), Flickers of Desire: Movie Stars of the 1910s (New Brunswick, NJ: Rutgers University Press,2011).
Richard, Jacques (ed.), Dictionnaire des acteurs du cinéma muet en France (Paris: Fallois, 2011).
Väliaho, Pasi, Mapping the Moving Image: Gesture, Thought and Cinema circa 1900 (Amsterdam: Amsterdam University
Press, 2011).
Loiperdinger, Martin and Uli Jung (eds.), Importing Asta Nielsen: The International Film Star in the Making, 1910‒1914(New Barnet, Herts.: John Libbey, 2013).
Duckett, Victoria, Seeing Sarah Bernhardt: Performance and Silent Film (Urbana: University of Illinois Press, 2015).
Förster, Annette, Women in Silent Cinema. Histories of Fame and Fate (Amsterdam: Amsterdam University Press, 2017).
OʼRourke, Chris, Acting for the Silent Screen: Film Actors and Aspiration between the Wars (London: I.B. Tauris, 2017).
Shail, Andrew, The Origins of the Film Star System: Persona, Publicity and Economics in Early Cinema (London:
Bloomsbury Academic, 2019).
［映画作品］Les Débuts de Max au cinématographe / Max fait du cinéma (Louis J. Gasnier?, Lucien Nonguet?, Pathé, France 1910,
7ʼ).

37

The Picture Idol (James Young, Vitagraph, US 1912, 14ʼ).
A Vitagraph Romance (James Young [?], Vitagraph, US 1912, 13ʼ).
Goodness Gracious; or, Movies as They Shouldnʼt Be (James Young, Vitagraph, US 1914, 29ʼ).
Meet Jackie Coogan (Stoll Film Company, UK 1924, 11ʼ).
[The First National Family of Stars] (First National Pictures, US 1926, 8ʼ).

Cinema Stars, No. 16 (Ralph B. Staub, Progress Pictures, Inc., US 1925, 8ʼ).
Ella Cinders (Alfred E. Green, First National Pictures, Inc./Alfred E. Green/John McCormick Productions, US 1926, 52ʼ).
Show People (King Vidor, Metro-Golwdyn-Mayer, US 1928, 80ʼ).

7 メイク (pp. 135‒137)
Kress, Émile, ʻLe Maquillageʼ, Conférences sur la cinématographie (Paris: Charles-Mendel, 1912), Vol. I, pp. 161‒4.
Bernique, Jean, Motion Picture Acting for Professionals and Amateurs (s.l. [Chicago]: Producers Service Company, 1916).
ʻUrge Need for Good Publicity Stillsʼ, The American Cinematographer vol. 4 no. 12 (March 1924), pp. 9, 16‒18.
Archer, Fred R. and Elmer Fryer, ʻStill Photography in Motion Picture Workʼ, Transactions of the Society of Motion Picture
Engineers vol. 12 no. 33 (April 1928), pp. 167‒72.
Brown, George Barr, ʻThe Still Camera in Motion Picturesʼ, The International Photographer vol. 1 no. 11 (December 1929),
pp. 20, 27, 43.

9 労働者 (pp. 141‒143)
Kress, Émile, ʻComment on installe et administre un cinémaʼ, Conférences sur la cinématographie (Paris: CharlesMendel, 1912), Vol. II, pp. 7‒37.
Franklin, Harold B., Motion Picture Theater Management (New York: George H. Doran Company, 1927).

10 映写技師 (pp. 143‒145)
Richardson, Frank H., Operatorsʼ Hand Book: A Book of Practical Hints and Instruction for the Owner and Operator (s.l.
[Chicago]: F.H. Richardson, c. 1907).
Jenkins, Charles Francis, Handbook for Motion Picture and Stereopticon Operators (Washington, DC: The Knega
Company, n.d. [c. 1908]).

The Modern Bioscope Operator (London: Ganes, 1910).
Cameron, James R., Motion Picture Projection. An Elementary Text-Book (New York: Theatre Supply Co., 1921).

38

OʼConor Sloane, Thomas, Motion Picture Projection (New York: Falk Publishing Company, 1922).
Cameron, James R. (ed.), A Home Study Course in Professional Motion Picture Operating and Projection (New York: NewYork Institute of Photography, 1929).
Barnard, Timothy, ʻThe “Machine Operator”: Deus ex Machina of the Storefront Cinemaʼ, Framework vol. 43 no. 1 (Spring2002), pp. 40‒75.

11 楽⼠ (pp. 145‒147)
Rapée, Ernö, Cinema Music as a Profession (Torquay, Devon: Educational Section, Screen Music Society, 1925).
Riesenfeld, Hugo, ʻMusic and Motion Picturesʼ, Annals of the American Academy of Political and Social Science, vol. 128(November 1926), pp. 58‒62.
Marks, Martin, ʻThe First American Film Scoresʼ, Harvard Library Bulletin vol. 2 no. 4 (1991), pp. 78‒100.
Carli, Philip C., ʻMusicology and the Presentation of Silent Filmʼ, Film History vol. 7 no. 3 (Autumn 1995), pp. 298‒321.

12 観客 (pp. 147‒151)
Gorkij, Maksim, ʻBeglye zametki. Sinematograf Lyumʼeraʼ ([Fleeting Notes. The Lumière Cinematograph]), Nizhegorodskii
listok, 4 July 1896; English translation in Ian Christie and Richard Taylor (eds.), The Film Factory (Cambridge, MA:
Harvard University Press, 1988), pp. 25‒6.
Claudy, Carl H., ʻThe Degradation of the Motion Pictureʼ, Photo-Era vol. 21 no. 4 (October 1908), pp. 161‒5.
Ginestous, Étienne, ʻLes Cinématophtalmies (troubles oculaires par cinema)ʼ, Gazette hebdomadaire des sciences
médicales no. 23 (6 June 1909), pp. 266‒9.
Romains, Jules, ʻLa Foule au cinématographeʼ, in Les Puissances de Paris (Paris: Eugène Figuière 1911); English
translation in Richard Abel, French Film Theory and Criticism. A History/Anthology,1907‒1929 (Princeton, NJ: Princeton
University Press, 1988), p. 53.
Steer, Valentia, The Romance of the Cinema. A Short Record of the Development of the Most Popular Form ofEntertainment (London: C. Arthur Pearson, 1913).
Altenloh, Emilie, Zur Soziologie des Kinos (Jena: Verlag Eugen Diedrichs, 1914); English translation, ʻA Sociology of the
Cinema: The Audienceʼ, Screen vol. 42 no. 3 (Autumn 2001), pp. 249‒93; reprinted in Philip Simpson, Andrew Utterson,
and Karen J. Shepherdson (eds.), Film Theory: Critical Concepts in Media and Cultural Studies, Vol. III (London and New
York: Routledge, 2003), pp. 9‒55.
Serao, Matilde, ʻParla una spettatriceʼ, Lʼarte muta [Naples] vol. 1 no. 1 (15 June 1916), pp. 31‒2; English translation, ʻASpectatrix Is Speaking to Youʼ, in Antonia Lant, The Red Velvet Seat: Womenʼs Writing on the First Fifty Years of Cinema(New York: Verso, 2006), pp. 97‒9.
Münsterberg, Hugo, The Photoplay: A Psychological Study (New York: Appleton & Co., 1916).

39

Mitchell, Alice M., Children and Movies (Chicago, IL: University of Chicago Press, 1929).
Seabury, William M., Motion Picture Problems. The Cinema and the League of Nations (New York: The Avondale Press,
1929).
Mayne, Judith, ʻImmigrants and Spectatorsʼ, Wide Angle vol. 5 no. 2 (1982), pp. 32‒41.
Crafton, Donald (ed.), ʻEarly Cinema Audiencesʼ, special issue of Iris no. 11 (Summer 1990).
Hansen, Miriam, Babel and Babylon: Spectatorship in American Silent Film (Cambridge, MA: Harvard University Press,
1991).
Staiger, Janet, Interpreting Films: Studies in the Historical Reception of American Cinema (Princeton, NJ: Princeton
University Press, 1992).
Waller, Gregory A., ʻAnother Audience: Black Moviegoing, 1907‒1916ʼ, Cinema Journal vol. 31 no. 2 (Winter 1992), pp. 3‒
25.
Lefebvre, Thierry, ʻUne “Maladie” au tournant du siècle: la “cinématophtalmie”ʼ, Revue dʼHistoire de la Pharmacie vol. 40
no. 297 (April‒June 1993), pp. 225‒30.
Tsivian, Yuri, ʻRussia, 1913: Cinema in the Cultural Landscapeʼ, Griffithiana vol. 17 no. 50 (May 1994), pp. 125‒47.
Belton, John (ed.), ʻAudiences and Fansʼ, special issue of Film History vol. 6 no. 4 (Winter 1994).
Waller, Gregory A., Main Street Amusements: Movies and Commercial Entertainment in a Southern City, 1896‒1930(Washington, DC: Smithsonian Institution Press, 1995).
Fuller-Seeley, Kathryn, At the Picture Show: Small-Town Audiences and the Creation of Movie Fan Culture (Washington,
DC: Smithsonian Institution Press, 1996).
Bachmann, Gregg, ʻStill in the Dark: Silent Film Audiencesʼ, Film History vol. 9 no. 1 (1997), pp. 23‒48.
Hiley, Nicholas, ʻ“At the Picture Palace”: The British Cinema Audience, 1895‒1920ʼ, in John Fullerton (ed.), Celebrating
1895: The Centenary of Cinema (Sydney: John Libbey, 1998), pp. 96‒103.
Stokes, Melvyn and Richard Maltby (eds.), American Movie Audiences: From the Turn of the Century to the Early Sound
Era (London: BFI Publishing, 1999), pp. 46‒63.
Stamp, Shelley, Movie-Struck Girls: Women and Motion Picture Culture After the Nickelodeon (Princeton, NJ: Princeton
University Press, 2000).
Keil, Charlie and Shelley Stamps (eds.), American Cinemaʼs Transitional Era: Audiences, Institutions, Practices (Berkeley:
University of California Press, 2004).
Stewart, Jacqueline Najuma, Migrating to the Movies: Cinema and Black Urban Modernity (Berkeley: University ofCalifornia Press, 2005).
Abel, Richard, Americanizing the Movies and ʻMovie-Madʼ Audiences, 1910‒1914 (Berkeley: University of California
Press, 2006).

40

Lant, Antonia (ed.), The Red Velvet Seat: Womenʼs Writing on the First Fifty Years of Cinema (New York: Verso, 2006)
Musser, Charles, ʻA Cinema of Contemplation, a Cinema of Discernment: Spectatorship, Intertextuality and Attractions in
the 1890sʼ, in Wanda Strauven (ed.), The Cinema of Attractions Reloaded (Amsterdam: Amsterdam University Press,
2006), pp. 159‒179.
Maltby, Richard, Melvyn Stokes, and Robert C. Allen (eds.), Going to the Movies: Hollywood and the Social Experience ofCinema (Exeter: Exeter University Press, 2007).
McKernan, Luke, ʻA Fury for Seeing: Cinema, Audience and Leisure in London in 1913ʼ, Early Popular Visual Culture vol. 6
no. 8 (2008), pp. 271‒280.
de la Bretèque, François Amy, Michel Cadé, Angel Quintana Moraja, and Jordi Pons (eds.), Les Cinemas périphériques
dans la période des premiers temps (Perpignan/Girona: Presses Universitaires de Perpignan ‒ Institut Jean Vigo/Museudel Cinema, 2010).
Braun, Marta, Beyond the Screen: Institutions, Networks and Publics of Early Cinema (New Barnet, Herts.: John Libbey,2012).
Hennefeld, Maggie, ʻWomenʼs Hats and Silent Film Spectatorship: Between Ostrich Plume and Moving Imageʼ, Film
History vol. 28 no. 3 (2016), pp. 24‒53.

13 解説者 (pp. 151‒153)
Abel, Richard (ed.), French Film Theory and Criticism. A History/Anthology, 1907‒1929 (Princeton, NJ: Princeton
University Press, 1988).
Anděl, Jaroslav and Petr Szczepanik (eds.), Cinema All the Time: An Anthology of Czech Film Theory and Criticism, 1908‒
1939 (Prague/Ann Arbor, MI: National Film Archive/Michigan Slavic Publications, 2008).
Banda, Daniel and José Moure, Le Cinéma: naissance dʼun art. Premiers écrits, 1895‒1920 (Paris: Flammarion, 2008).
Abel, Richard, Menus for Movieland: Newspapers and the Emergence of American Film Culture, 1913‒1916 (Berkeley:
University of California Press, 2015).
Kaes, Anton, Nicholas Baer, and Michael Cowan (eds.), The Promise of Cinema: German Film Theory, 1907‒1933(Berkeley: University of California Press, 2016).

第 6 章 建物 (pp. 155‒183)
AGFA Kine-Handbuch, I. Allgemeiner Teil; English translation, Kine Handbook; Spanish version, Manual decinematografía AGFA (s.l. [Wolfen], n.d. [c. 1929]).
Leggio, Angeletta, ʻA History of Australiaʼs Kodak Manufacturing Plantʼ, Topics in Photographic Preservation vol. 12(2009), pp. 67‒73.

41

1 撮影所 (pp. 158‒161)
Jacobson, Brian R., Studios Before the System: Architecture, Technology, and the Emergence of Cinematic Space (NewYork: Columbia University Press, 2015).
Mereu Keating, Carla, “The Spatiality of Film Production and the Politics of Urban Planning: Romeʼs Pioneering Film
Studio Cines (1905‒1937)”, Film History vol. 33, no. 3 (2021), pp. 37‒65.
［映画作品］One Picture Is Worth A Thousand Words: The Plant Behind the Pictures / The Plant (Ontario Motion Picture Bureau,
Canada, ca. 1920, 6ʼ).
[A Tour of the Thomas H. Ince (ex Triangle) Studio] (Hunt Stromberg, Thomas H. Ince/Triangle Film Corporation, US
1920, 24ʼ).

Around the Town and Everywhere, Issue 118: British Film Stars and Studios (Around the Town Ltd./Gaumont Company,
UK 1921, 2ʼ30”).

Une Cité française du cinéma / Une Cité du cinéma (Pierre Chenal, Pathé-Natan, France 1928, 11ʼ).
Opening of British Instructional Films Studio (British Instructional Films, UK 1928, 4ʼ).

2 照明 (pp. 161‒164)
Lomas, H.M., Picture Play Photography (London: Ganes, 1914).
Nasaw, David, ʻIt Begins With the Lights: Electrification and the Rise of Public Entertainmentʼ, in Patricia McDonnell andRobert Allen (eds.), On the Edge of Your Seat: Popular Theatre and Film in Early Twentieth-Century American Art (NewHaven, CT: Yale University Press, 2002), pp. 45‒63.

4 劇場 (pp. 166‒170)
Jason, Alexander (ed.), Handbuch der Filmwirtschaft. Europäische Statistiken und Verzeichnisse seit 1926. Band II: FilmEuropa (Berlin: Verlag für Presse, Wirtschaft und Politik, 1930).
Hall, Ben M., The Best Remaining Seats (New York: Bramhall House, 1961).
Atwell, David, Cathedrals of the Movies. A History of British Cinemas and Their Audiences (London: The Architectural
Press, 1980).
Valerio, Joseph M., and Daniel Friedman, Movie Palaces: Renaissance and Reuse (New York: Educational Facilities
Laboratories Division, Academy for Educational Development, 1982).
Melnick, Ross and Andreas Fuchs, Cinema Treasures. A New Look at Classic Movie Theatres (St Paul, MN: MBI
Publishing, 2004).
Meusy, Jean-Jacques (ed.), Cinémas de France (1894‒1918): une histoire en images (Paris: Arcadia, 2009).

42

Mahadevan, Sudhir, ʻTraveling Showmen, Makeshi Cinemas: The Bioscopewallah and Early Cinema History in Indiaʼ,
BioScope: South Asian Screen Studies vol. 1 no. 1 (2010), pp. 27‒47.
Paul, William, When Movies Were Theater. Architecture, Exhibition, and the Evolution of American Film (New York:
Columbia University Press, 2016).
Thissen, Judith, ʻMultifunctional Halls and the Place of Cinema in the European Countryside, 1920‒1970ʼ, Cinémas vol. 27
nos. 2‒3 (2017), pp. 91‒111.
［映画作品］

Running a Cinema (Dudley Buxton, Kine Komedy Kartoons/Frank Zeitlin, UK 1921, 6ʼ30”).
［ジャーナル］

Marquee ‒ Journal of the Theatre Historical Society of America (ISSN 0025-3928).
［ウェブサイト］
The London Project: The Birth of the Film Business in London, 1894‒1914: http://london film.bbk.ac.uk/

5 客席 (pp. 170‒175)
Meloy, Arthur S., Theatres and Picture Houses (New York: Architectsʼ Supply & Publishing Company, 1916).
［映画作品］

Those Awful Hats (D.W. Griffith, Biograph, US 1909, 3ʼ).
Cretinetti al cinematografo (Itala-Film, Italy 1911, 9ʼ).
Al cinematografo, guardate… e non toccate (Itala-Film, Italy 1912, 5ʼ).
Una tragedia al cinematografo (Ernest Guazzoni, Cines, Italy 1913, 8ʼ).

6 スクリーン (pp. 175‒179)
Paul, William, ʻUncanny Theater: The Twin Inheritances of the Moviesʼ, Paradoxa: Studies in World Literary Genres vol. 3
nos. 3‒4 (1997), pp. 321‒347.

7 映写室 (pp. 179‒183)
Donnadieu, Adolphe-Louis, La Photographie animée: ses origines, son exploitation, ses dangers (Paris and Lyon:
Charles-Mendel/E. Vitte, 1897).
Huret, Jules (ed.), In Memoriam. La catastrophe du bazar de la Charité (4 mai 1897). Historique du bazar de la Charité, La

Catastrophe, Les victimes, Les sauveteurs, Les blessés, Les funérailles, Détails rétrospectifs, Les responsabilités, Liste
officielle des récompenses, etc., Liste complète des souscripteurs du ʻFigaroʼ (Paris: F. Juven, n.d. [1897]).

43

Morton, Baxter, ʻFires from Moving-Picture Exhibitionsʼ, Scientific American, 5 August 1905, p. 102.
Baldizzone, José (ed.), ʻLʼIncendie du Bazar de la Charitéʼ, Archives [Perpignan] no. 12 (March 1988), pp. 1‒16.
Fletcher, Tony, Regulating the Cinematograph in London 1897‒1906 (London: Local History Publications, 2017).

第 7 章 作品 (pp. 185‒215)
1 上映時間 (pp. 187‒188)
Neal, Steve (ed.), Silent Features. Essays on Silent Feature-Length Films 1914‒1934 (Exeter: University of Exeter Press,
2018).

2 ジャンル (pp. 189‒194)
古代史
Michelakis, Pantelis and Maria Wyke, The Ancient World in Silent Cinema (Cambridge: Cambridge University Press,2013).
アニメーション
Lutz, Edwin G., Animated Cartoons. How They Are Made, Their Origin and Development (New York: Scribnerʼs, 1925).
Crafton, Donald, Before Mickey: The Animated Film, 1898‒1928 (Chicago, IL: University of Chicago Press, 1993).
Merritt, Russell and J.B. Kaufman, Walt in Wonderland: The Silent Films of Walt Disney (Baltimore, MD: Johns Hopkins
University Press, 2001).
Robinson, David, Victor Bocharov, and Birgit Beumers, Alexander Shiryaev: Master of Movement (Pordenone: Le Giornatedel Cinema Muto, 2009).
Crafton, Donald, Emile Cohl, Caricature, and Film (Princeton, NJ: Princeton University Press, 2014).
Bendazzi, Giannalberto, Animation: A World History (Boca Raton, FL: CRC Press/Taylor & Francis, 2016).
前衛(アヴァン=ギャルド)
Schleugl, Hans and Ernst Schmidt (eds.), Eine Subgeschichte des Films: Lexicon des Avantgarde-, Experimental- undUnderground films (Frankfurt am Main: Suhrkamp, 1974, 2 vols.).
Horak, Jan-Christopher, Lovers of Cinema: The First American Film Avant-Garde, 1919‒1945 (Madison: University of
Wisconsin Press, 1995).
喜劇(コメディ)Kerr, Walter, The Silent Clowns (New York: Knopf, 1975; reprint, New York: Da Capo Press, 1990).

44

Bernardini, Aldo (ed., in collaboration with Vittorio Martinelli), ʻI comici del muto italianoʼ, Griffithiana vol. 8 nos. 24‒25(October 1985), pp. 63‒134; vol. 9 nos. 26‒27 (September 1986), pp. 99‒101.
Burton, Alan and Laraine Porter (eds.), Pimple, Pranks & Pratfalls: British Film Comedy Before 1930 (Trowbridge, Wilts.:
Flicks Books, 2000).
King, Rob, The Fun Factory: The Keystone Film Company and the Emergence of Mass Culture (Berkeley: University ofCalifornia Press, 2009).
Le Roy, Éric (ed.), ʻAux sources du burlesque cinématographique: les comiques français des premier tempsʼ, special
issue of 1895 no. 61 (2010).
Hennefeld, Maggie, Specters of Slapstick & Silent Film Comediennes (New York: Columbia University Press, 2018).
Wagner, Kristen Anderson, Comic Venus: Women and Comedy in American Silent Film (Wayne, MI: Wayne State
University Press, 2018).
ホラー
Phillips, Kendall R., A Place of Darkness: The Rhetoric of Horror in Early American Cinema (Austin, TX: University oftexas Press, 2018).
Rhodes, Gary D., The Birth of the American Horror Film (Edinburgh: Edinburgh University Press, 2018).
⽂学
Tsivian, Yuri, ʻThe Invisible Novelty: Film Adaptations in the 1910sʼ, in Robert Stam and Alessandra Raengo(eds.), A Companion to Literature and Film (Malden, MA: Blackwell, 2004), pp. 92‒111.
ノン=フィクション
Fielding, Raymond, The American Newsreel, 1911‒1967 (Norman: University of Oklahoma Press, 1967).
Levy, David, ʻRe-Constituted Newsreels, Re-Enactments and the American Narrative Filmʼ, in Roger Holman
and André Gaudreault (eds.), Cinema 1900‒1906: An Analytical Study (Brussels: FIAF, 1982), Vol. 1, pp. 243‒
258.
Convents, Guido, ʻDocumentaries and Propaganda Before 1914: A View on Early Cinema and Colonial
Historyʼ, Framework no. 35 (1988), pp. 104‒113.
Hertogs, Daan and Nico de Klerk, Nonfiction in the Teens (Amsterdam: Stichting Nederlands Filmmuseum,1994).
Smither, Roger and Wolfgang Klaue (eds.), Newsreels in Film Archives: A Survey Based on the FIAF
Newsreel Symposium (Trowbridge, Wilts.: Flicks Books, 1996).

45

Hertogs, Dan and Nico de Klerk (eds.), Uncharted Territory: Essays on Early Nonfiction Film (Amsterdam:
Stichting Nederlands Filmmuseum, 1997).
Toulmin, Vanessa, Simon Popple, and Patrick Russell (eds.), The Lost World of Mitchell & Kenyon: Edwardian Britain on
Film (London: BFI Publishing, 2004).
Peterson, Jennifer L., Education in the School of Dreams: Travelogues and Early Nonfiction Film (Durham, NC: Duke
University Press, 2013).
Ruppin, Dafna (ed.), The Komedi Bioscoop: Early Cinema in Colonial Indonesia (New Barnet, Herts.: John Libbey, 2016).
科学
Lefebvre, Thierry, ʻThe Scientia Production (1911‒1914): Scientific Popularization Through Picturesʼ, Griffithiana vol. 16
no. 47 (1993), pp. 137‒155.
Tosi, Virgilio, Cinema Before Cinema: The Origins of Scientific Cinematography (London: British Universities Film & Video
Council, 2005).
Gaycken, Oliver, Devices of Curiosity: Early Cinema and Popular Science (Oxford and New York: Oxford University Press,2015).
Curtis, Scott, The Shape of Spectatorship: Art, Science, and Early Cinema in Germany (New York: Columbia University
Press, 2015).
連続劇（シリアル）Balshofer, Fred J. and Arthur C. Miller, One Reel a Week (Berkeley: University of California Press, 1967).
Dahlquist, Marina (ed.), Exporting Perilous Pauline: Pearl White and the Serial Film Craze (Champaign: University of
Illinois Press, 2013).
スポーツ
Streible, Dan, Fight Pictures: A History of Boxing and Early Cinema (Berkeley: University of California Press, 2008).
3D（⽴体）
Weiberg, Mark, ʻFunctional Colors: The Varied Applications of Complementary Huesʼ, Film History vol. 29 no. 2 (2017), pp.
91‒107.
⼒持ち
Farassino, Alberto and Tatti Sanguineti (eds.), Gli uomini forti (Milan: Mazzotta, 1983).
DallʼAsta, Monica, Un cinéma musclé. Le surhomme dans le cinéma italien, 1913‒1926 (Crisnée: Éditions Yellow Now,
1992).
Reich, Jacqueline, The Maciste Films of Italian Silent Cinema (Bloomington: Indiana University Press, 2015).

46

演劇
Gifford, Dennis, Books and Plays in Films, 1896‒1915 (London and New York: Mansell, 1991).
Brewster, Ben and Lea Jacobs, Theatre to Cinema. Stage Pictorialism and the Early Feature Film (Oxford and New York:
Oxford University Press, 1997).
Mayer, David, Stagestruck Filmmaker: D.W. Griffith and the American Theatre (Iowa City: University of Iowa Press, 2009).
戦争
De Lange, Jacobus H., The Anglo-Boer War 1899‒1902 on Film (Pretoria: Department of National Education, State
Archives and Heraldic Services, 1991).
DeBauche, Leslie Midkiff, Reel Patriotism: The Movies and World War I (Madison: University of Wisconsin Press, 1997).
⻄部劇Langman, Larry, A Guide to Silent Westerns (New York: Greenwood Press, 1992).
Simmon, Scott, The Invention of the Western Film: A Cultural History of the Genreʼs First Half-Century (Cambridge and
New York: Cambridge University Press, 2003).
Smith, Andrew Brodie, Shooting Cowboys and Indians: Silent Western Films, American Culture, and the Birth of
Hollywood (Boulder: University of Colorado Press, 2003).

3 トリック (pp. 194‒198)
Méliès, Georges, ʻLes Vues cinématographiquesʼ, in Annuaire général et international de la photographie (Paris: Plon,
1907), pp. 362‒392; abridged English translation in Richard Abel, French Film Theory and Criticism, 1907‒1929(Princeton, NJ: Princeton University Press, 1988), pp. 35‒47.
Babin, Gustave, ʻLes Coulisses du cinématographeʼ, ʻLes Coulisses du cinématographe IIʼ, ʻLe Théâtre
cinématographiqueʼ, LʼIllustration (Paris) vol. 66 no. 3396 (28 March 1908), pp. 211‒215; no. 3397 (4 April 1908), pp. 238‒
242; no. 3427 (31 October 1908), pp. 286‒287.
Barnouw, Eric, The Magician and the Cinema (New York and Oxford: Oxford University Press, 1981).
Malthête, Jacques, ʻLe Collage magique chez Edison et Méliès avant 1901ʼ, CinémAction no. 102 (January‒March 2002),
pp. 96‒109.

5 インタータイトル (pp. 200‒205)
Raffaelli, Sergio, La lingua filmata. Didascalie e dialoghi nel cinema italiano (Florence: Le Lettere, 1992).
Pitassio, Francesco and Leonardo Quaresima (eds.), Scrittura e immagine: la didascalia nel cinema muto/Writing andImage: Titles in Silent Cinema (Udine: Forum, 1998).

47

Dupré la Tour, Claire (ed.), Intertitle and Film. History, Theory, Restoration/Intertitre et film. Histoire, théorie,
restauration [Proceedings of the Cinémathèque française International Conference, Paris, March 1999], Iris (2000), nos.
31‒32.
Dupré la Tour, Claire and Caroline Amann, Zwischentitel. Chronological Bibliography on the Intertitle in Silent
Films/Bibliographie chronologique sur lʼintertitre/Chronologische Bibliographie des Zwischentitels (Hamburg: Universität
Hamburg, Institut für Germanistik, 2012; Medienwissenschaft: Berichte und Papiere, no. 145, pp. 1‒20; online version,
https://doi.org/10.25969/mediarep/12778).
Gaudreault, André and Timothy Barnard, ʻTitles, Subtitles, and Intertitles: Factors of Autonomy, Factors ofConcatenationʼ, Film History vol. 25 nos. 1‒2 (2013), pp. 81‒94.
OʼSullivan, Carol and Jean-François Cornu (eds.), The Translation of Films, 1900‒1950 (Oxford: Oxford University Press/
The British Academy, 2019).

7 コマース (pp. 207‒209)
Thompson, Kristin, Exporting Entertainment: America in the World Film Market, 1907‒1934 (London: BFI Publishing,1985).
Koszarski, Richard (ed.), ʻExhibitionʼ, special issue of Film History vol. 6 no. 2 (Summer 1994).
Abel, Richard, The Red Rooster Scare. Making Cinema American, 1900‒1910 (Berkeley: University of California Press,
1999).
Rossell, Deac, ʻA Slippery Job: Traveling Exhibitors in Early Cinemaʼ, in Simon Popple and Vanessa Toulmin (eds.), Visual
Delights: Essays on the Popular and Projected Image in the 19th Century (Trowbridge, Wilts.: Flicks Books, 2000), pp. 50‒
60.
Quinn, Michael, ʻDistribution, the Transient Audience, and the Transition to the Feature Film, Cinema Journal vol. 40 no. 2(2001), pp. 35‒56.
Alvarez, Max J., ʻThe Origins of the Film Exchangeʼ, Film History vol. 17 no. 4 (2005), pp. 431‒465.
Lewis, Leslie Anne, ʻThe Corrick Collection: A Case Study in Asia-Pacific Itinerant Film Exhibition (1901‒1914)ʼ, NationalFilm and Sound Archive Journal vol. 2 no. 2 (2007), pp. 1‒12.
Kessler, Frank, and Nanna Verhoe (eds.), Networks of Entertainment (Eastleigh, Hants.: John Libbey, 2007).
Frykholm, Joel, George Kleine & American Cinema: The Movie Business and Film Culture in the Silent Era (London: BFI
Publishing/Palgrave, 2015).
Lacasse, Germain, ʻDream Worldʼ: parcours et discours dʼun duo dʼexploitants français aux USA, 1899‒1910 (Quebec:
Germain Lacasse, 2017).
Moore, Paul S., “ʻBought, Sold, Exchanged and Rentedʼ: The Early Film Exchange and the Market in Secondhand Films in
New York Clipper Classified Ads”, Film History, vol. 31, no. 2, 2019, pp. 1‒31.

8 著作権 (pp. 209‒212)
48

Maugras, Émile and Maurice Guégan, Le Cinématographe devant le droit (Paris: V. Giard & E. Brière, 1908).
Pouillet, Eugène, Georges Maillard, and Charles Claro, Traité théorique et pratique de la propriété littéraire et artistiqueet du droit de représentation (Paris: Marchal et Billard, 1908, 3rd edition).
Cohn, Georg, Kinematographenrecht (Berlin: Deckerʼs Verlag, 1909).
Apollinaire, Guillaume [under the pseudonym Pascal Hédegat], ʻLe Cinéma à la Nationaleʼ, LʼIntransigeant (1 March
1910), pp. 1‒2.
Potu, Émile, La Protection internationale des oeuvres cinématographiques dʼaprès la Convention de Berne, revisée à
Berlin en 1908 (Paris: Gauthier-Villars, 1912).
May, Bruno, Das Recht des Kinematographen (Berlin: Falk, 1912).
Marchais, Jean, Du cinématographe dans ses rapports avec le droit dʼauteur (Paris: V. Giard et E. Brière, 1912).
Frohlich, Louis D. and Charles Schwartz, The Law of Motion Pictures, Including the Law of the Theatre (New York: Baker,
Voorhis & Co., 1917).
Tiranty, Umberto, La cinematografia e la legge (Milan, Turin, and Rome: Fratelli Bocca, 1921).
Lapie, Pierre-Olivier, ʻUn problème de propriété intellectuelle en droit comparé. La determination de lʼauteur dʼune
oeuvre cinématographiqueʼ, Bulletin de la Société de Legislation Comparée vol. 56 (1927), pp. 123‒131.
Devillez, Hubert, LʼOeuvre cinématographique et la propriété artistique (Paris: Les Presses Universitaires de France,
1928).
Satanowsky, Isidro, La obra cinematográfica frente al derecho (Buenos Aires: Ediar, 1948‒1955, 5 vols.).
Kamina, Pascal, ʻHistory of Film Protection in Europeʼ, in Film Copyright in the European Union (Cambridge: Cambridge
University Press, 2002; 2nd edition, 2016), pp. 7‒50.
Op den Kamp, Claudy, The Greatest Films Never Seen. The Film Archive and the Copyright Smokescreen (Amsterdam:
Amsterdam University Press, 2018).
Sirotti Gaudenzi, Andrea, Il nuovo diritto dʼautore. La tutela della proprietà intellettuale nella società dell'informazione(Santarcangelo di Romagna: Maggioli Editore, 2018).
［ペーパープリント］ (p. 210)
Niver, Kemp R., Motion Pictures from the Library of Congress Paper Print Collection, 1894‒1912 (Berkeley: University ofCalifornia Press, 1967).
Loughney, Patrick, A Descriptive Analysis of the Library of Congress Paper Print Collection and Related CopyrightMaterials (Ann Arbor: UMI, 1988).
Grimm, Charles ʻBuckeyʼ, ʻA Paper Print Pre-Historyʼ, Film History vol. 11 no. 2 (1999), pp. 204‒216.

49

9 検閲 (pp. 212‒215)
Oberholtzer, Ellis Paxson, The Morals of the Movie (Philadelphia, PA: Penn Publishing Company, 1922).
ʻThe Motion Picture in Its Economic and Social Aspectsʼ, special issue of Annals of the American Academy of Politicaland Social Science vol. 128 (November 1926).
Hunnings, Neville March, Film Censors and the Law (London: Allen and Unwin, 1967).
Masato, Hase, ʻThe Origins of Censorship: Police and Motion Pictures in the Taishō Periodʼ, Review of Japanese Culture
and Society no. 10 (1988), pp. 14‒23.
Olsson, Jan, ʻMagnified Discourse: Screenplays and Censorship in Swedish Cinema of the 1910sʼ, in John Fullerton (ed.),Celebrating 1895: The Centenary of Cinema (Sydney: John Libbey, 1998), pp. 239‒252.
牧野守『⽇本映画検閲史』 (東京: パンドラ, 2003).
Grieveson, Lee, Policing Cinema: Movies and Censorship in Early Twentieth-Century America (Berkeley: University ofCalifornia Press, 2004).
Yangirov, Rashit M., ʻCensorship and Film Distribution in Russia, 1908‒1914ʼ, in Frank Kessler and Nanna Verhoe (eds.),
Networks of Entertainment (Eastleigh, Hants.: John Libbey, 2007), pp. 77‒84.

Sikminji-sidae-ui-Youngwha-Gumyeol, 1910‒1934 [Film Censorship during the Japanese Colonization, 1910‒1934](Seoul: Korean Film Archive, 2009).
Fronc, Jennifer, Monitoring the Movies: The Fight Over Film Censorship in Early Twentieth-Century Urban America(Austin, TX: University of texas Press, 2017).
［映画作品］Cut It Out: A Day in the Life of a Censor (Adrian Brunel, Gainsborough Pictures/Michael Balcon/W & F Film Service, UK
1925, 19ʼ).

第 8 章 興⾏ (pp. 217‒237)
Meusy, Jean-Jacques, ʻPalaces and Holes in the Wall: Conditions of Exhibition in Paris on the Eve of World War Iʼ, Velvet
Light Trap vol. 37 (Spring 1996), pp. 81‒98.
Garncarz, Josef, Maßlose Unterhaltung (Frankfurt: Stroemfeld Verlag, 2010).
Meusy, Jean-Jacques, Écrans français de lʼentre-deux-guerres. Vol. I: LʼApogée de ʻlʼart muetʼ (Paris: Association
Française de Recherche sur lʼHistoire du Cinéma, 2017).

1 チケット (pp. 218‒220)

50

Seabury, William M., ʻAdmission Pricesʼ, in The Public and the Motion Picture Industry (New York: Macmillan, 1926), pp.
111‒131.
Griffiths, Trevor, ʻQuantifying an “Essential Social Habit”: The Entertainments Tax and Cinemagoing in Britain, 1916‒
1934ʼ, Film History vol. 31, 1, pp. 1‒26.

5 プログラム (pp. 225‒227)
Toulmin, Vanessa, ʻThe Importance of the Programme in Early Film Presentationʼ, KINtop no. 11 (2002), pp. 19‒33.

6 動作 (pp. 227‒229; pp. 405−408 も参照のこと)
Sudendorf, Werner, “The Variable Speed of German Silent Films”, FIAF Information Bulletin, no. 30, October 1985, pp. 33‒
42.
Irie, Yoshiro, ʻSilent Japanese Films: What Was the Right Speed?ʼ, Journal of Film Preservation no. 65 (December 2002),
pp. 36‒41.
Mohsenin, Maral, “Silent Film Speeds Throughout Film History: Standards and Practices”, Journal of Film Preservation
no. 101 (October 2019), pp. 9‒18.

7 リズム (pp. 230‒231)
Westcott, W. Burton, “Precision. The Dominant Factor in Motion Picture Machines”, Transactions of the Society of
Motion Picture Engineers, no. 2, 2‒3 October 1916 (New York: SMPE).
“Motion Picture Standards”, Transactions of the Society of Motion Picture Engineers, no. 3, 16‒17 April 1917 (Atlantic
City: Society of Motion Picture Engineers).
Richardson, Frank H., “Theoretical vs. Practical as Applied to Standardization and Some of the Things to be Considered
as Proper Subjects for Standardization”, Transactions of the Society of Motion Picture Engineers, no. 6, 8‒9 April 1918, p.
34??? (Rochester: SMPE).

9 アンダークランキング (pp. 234‒235)
Aleinikov, Moisei and Iosif Ermoliev, Prakticheskoe rukovodstvo po kinematogra (Moscow: Aleinikov/ Ermoliev,
Moskovskoe izdatelstvo, 1916).
Model, Ben, ʻ“Undercranking”: The Magic behind the Slapstickʼ, Journal of Film Preservation no. 93 (October 2015), pp.
21‒25.

10 アンビエンス (pp. 235‒237)
Townsend, Lewis M. and Lloyd A. Jones, ʻThe Use of Color for the Embellishment of the Motion Picture Programʼ,Transactions of the Society of Motion Picture Engineers vol. 9 no. 21 (August 1925), pp. 38‒66.

51

第 9 章 ⾳響 (pp. 239‒260)
Anderson, Gillian B., Film Music Bibliography I (Hollywood, CA: Society for the Preservation of Film Music, 1995).
Eyman, Scott, The Speed of Sound: Hollywood and the Talkie Revolution, 1926‒1930 (New York: Simon & Schuster,1997).
Abel, Richard, and Rick Altman (eds.), The Sounds of Early Cinema (Bloomington: Indiana University Press, 2001).
Altman, Rick, Silent Film Sound (New York: Columbia University Press, 2004).
Fuchs, Maria, Stumm filmmusik: Theorie und Praxis im ʻAllgemeinen Handbuch der Film-Musikʼ, 1927 (Marburg; Schüren
Verlag [Marburger Schriften zur Medienforschung, Bd. 68], 2016).
Cauche, Robin, ʻRereading the Decline of the Illustrated Song: Three Crisis Discourses in Moving Picture World, 1908ʼ,Film History vol. 32 no. 1 (2020), pp. 106‒126.

1 声 (pp. 241‒243)
Coissac, Guillaume-Michel, Manuel pratique du conférencier-projectionniste (Paris: Maison de la Bonne Presse, 1908).
van Beusekom, Ansje, ʻThe Rise and Fall of the Lecturer as Entertainer in the Netherlandsʼ, Iris no. 22 (1996), pp. 131‒
144.
Gunning, Tom, ʻThe Scene of Speaking: Two Decades of Discovering the Film Lecturerʼ, Iris no. 27 (Spring 1999), pp. 67‒
79.
Pisano, Giusy and Valérie Pozner (eds.), Le Muet a la parole. Cinéma et performances à lʼaube du XXe siècle (Paris:
Association Française de Recherche sur lʼHistoire du Cinéma, 2005).
Boillat, Alain, Du bonimenteur à la voix-over. Voix-attraction et voix-narration au cinéma (Lausanne: Éditions Antipodes,
2007).

2 弁⼠ (pp. 243‒245)
Komatsu, Hiroshi and Frances Loden, ʻMastering the Mute Image: The Role of the Benshi in Japanese Cinemaʼ, Iris no.
22 (1997), pp. 33‒52.
Friends of Silent Films Association/Matsuda Film Productions, The Benshi. Japanese Silent Film Narrators (東京: Urban
Connections, 2001).
⽚岡⼀郎『活動写真弁史』(東京: 共和国 2020)

3 ノイズ (pp. 245‒247)
Bottomore, Stephen, ʻAn International Survey of Sound Effects in Early Cinemaʼ, Film History vol. 11 no. 4 (1999), pp.
485‒498.

52

4 機械仕掛け (pp. 247‒249)
Bowers, Q. David, Encyclopedia of Automatic Musical Instruments (Vestal, NY: Vestal Press, 1972).
Das Mechanische Musikinstrument enhält Die Drehorgel, special issue on mechanical instruments for film theatres, vol.
11 no. 41 (April 1987).

5 楽譜 (pp. 250‒253)
Ahern, Eugene A., What and How to Play for Pictures (Twinfalls, ID: Newsprint, 1913).
Zamecnik, John S. (ed.), Sam Fox Moving Picture Music (Cleveland, OH: Sam Fox, 1913 [vols. 1 and 2]; 1914 [vol. 3]).
Becce, Giuseppe, Kinobibliothek (Berlin: Schlesingersche Buchund Musikhandlung Robert Lienau, 1919 ff.).
Lang, Edith and George West, Musical Accompaniment of Moving Pictures (Boston, MA: Boston Music, 1920; reprint,
New York: Arno Press, 1970).
Benyon, George W., Musical Presentation of Motion Pictures (New York: G. Schirmer, 1921).
Buckley, P. Kevin, The Orchestral and Cinema Organist (London: Hawkes, 1923).
Rapée, Erno, Motion Picture Moods for Pianists and Organists: A Rapid-Reference Collection of Selected Pieces (NewYork: G. Schirmer, 1924; reprint, New York: Arno Press, 1970).
Rapée, Erno, Encyclopedia of Music for Pictures (New York: Belwin, 1925; reprint, New York: Arno Press, 1970).
Erdmann, Hans and Giuseppe Becce, Allgemeines Handbuch der Film-Musik I & II (Berlin and Leipzig: Schlesingersche
Buchund Musikhandlung Robert Lienau, 1927).
Hofmann, Charles, Sounds for Silents (New York: Drama Book Specialists, 1970).
Berg, Charles M., An Investigation of the Motives for and Realization of Music to Accompany the American Silent Film,
1896‒1927 (New York: Arno Press, 1976).
Anderson, Gillian B. (ed.), Music for Silent Films, 1894‒1929. A Guide (Washington, DC: Library of Congress, 1988).

7 録⾳ (pp. 255‒260)
Olsson, Jan, Från filmjud till ljudfilm (Stockholm: Proprius förlag, 1986) [including an audiotape recording of seventeen
phonograph discs for silent films in the period 1903 to 1914].
Barnier, Martin, ʻLe Cinéphone et lʼIdéal-Sonore, deux appareils sonores Gaumont des années 1920‒1930ʼ, 1895 no. 24(June 1998), pp. 37‒53.
ʻGlobal Experiments in Early Synchronous Soundʼ, special Domitor issue of Film History vol. 11 no. 4 (1999).
OʼBrien, Charles, Technology and Film Style in France and the United States (Bloomington: Indiana University Press,
2005).

53

OʼBrien, Charles, ʻSound-on-disc Cinema and Electrification prior to WWI: Britain, France, Germany, and the UnitedStatesʼ, in Richard Abel, Giorgio Bertellini and Rob King (eds.), Early Cinema and the ʻNationalʼ (Eastleigh, Hants.: John
Libbey, 2008), pp. 40‒49.
Loiperdinger, Martin, ʻGerman Tonbilder of the 1900sʼ, in Klaus Kreimeier and Annemone Ligensa (eds.), Film 1900:
Technology, Perception, Culture (New Barnet, Herts.: John Libbey, 2009), pp. 187‒200.

第 10 章 コレクション (pp. 261‒284)
National Film Archive Catalogue. Part I, Silent News Films, 1895‒1933 (London: British Film Institute, 1965); Part II,
Silent Non-Fiction Films, 1895‒1934 (1960); Part III, Silent Fiction Films, 1895‒1930 (1966).
National Film Archive Catalogue, Volume 1: Non-Fiction Films (London: British Film Institute, 1980).
Horwitz, Rita and Harriet Harrison (eds.), The George Kleine Collection of Early Motion Pictures in the Library ofCongress: A Catalog (Washington, DC: Library of Congress, 1980).
Magliozzi, Ronald S. (ed.), Treasures from the Film Archives: A Catalog of Short Silent Fiction Films Held by FIAF
Archives (Metuchen, NJ, and London: Scarecrow Press, 1988).

Restaurations et tirages de la Cinémathèque française, vols. 1‒4 (Paris: La Cinémathèque française, 1986‒1989).
Fons de nitrats de la Filmoteca. Volum I ‒ Films de ficció (Barcelona: Ambit Serveis Editorials, 2001).
無声映画に関する代表的なインターネット・データベース
International Federation of Film Archives (FIAF): Treasures from the Film Archives Database www.fiafnet.org
フランス
Archives françaises du film: www.cnc-aff.fr
Gaumont Pathé Archives: www.gaumontpathearchives.com
ドイツ
Filmportal.de: http://www. filmportal.de/movies
英国
British Film Institute National Archive: http://collections-search.bfi.org.uk/web
National Library of Scotland ‒ Moving Image Archive: https://movingimage.nls.uk/search
スウェーデン
Svenska Filminstitutet ‒ Svensk Filmdatabas: www.svensk filmdatabas.se54

⽶国
Academy Film Archive: http://www.oscars.org/ film-archive/collections
Berkeley Art Museum/Pacific Film Archive: http://oskicat.berkeley.edu/
George Eastman Museum: http://collections.eastman.org
Library of Congress: https://www.loc.gov/
Museum of Modern Art: https://www.moma.org/collection/
UCLA Film and Television Archive: http://cinema.library.ucla.edu/vwebv/searchBasic

1 破壊 (pp. 263‒265)
Hollis, A.P., ʻThe Film Prayerʼ, instructional leaflet (Fargo, ND: Visual Instruction Service of the State, 1920), reproduced
in Paolo Cherchi Usai, Silent Cinema. An Introduction (London: BFI Publishing, 2000), p. 206.
Spiridovskii, Nikolai, Gibelʼ filmy. Porcha filmy i mery preduprezdeniia (Moscow and Leningrad: Kinopechat, 1927).
Pierce, David, ʻThe Legion of the Condemned: Why American Silent Films Perishedʼ, Film History vol. 9 no. 1 (1997), pp.
5‒22.
Smither, Roger (ed.), This Film Is Dangerous: An Anthology in Celebration of Nitrate Film (Brussels: FIAF, 2000).
Hall, Phil, In Search of Lost Films (Albany, NY: BearManor Media, 2016).
［映画作品］The Film Prayer (Aaron Van Domelen, Toronto International Film Festival, 2016, 2ʼ).

2 腐⾷ (pp. 265‒268)［映画作品］

This Film Is Dangerous (Ronald Haines, UK 1948, 20ʼ)
Das Verhalten von brennendem Nitrofilm gegenüber Löschmitteln (Österreichisches Filmarchiv, Austria 1975, 19ʼ)
Lyrical Nitrate (Peter Delpeut, Netherlands 2002, 50ʼ)Decasia (Bill Morrison, US 2002, 70ʼ)

3 廃棄処分 (pp. 268‒273)
Gordon, Paul L. (ed.), The Book of Film Care (Rochester, NY: Eastman Kodak Company, 1983).

55

4 救助 (pp. 273‒275)
Dickson, William Kennedy Laurie, History of the Kinetograph, Kinetoscope and Kinetophonograph (New York: Albert
Bunn, 1895; reprint, New York and London: Museum of Modern Art/ Thames & Hudson, 2001).
Matuszewski, Bolesław, Une Nouvelle source de lʼhistoire, création dʼun dépôt de cinématographie historique and La
Photographie animée, ce quʼelle est, ce quʼelle doit être (Paris: Noizette, 1898), reprinted in Zbigniew Czeczot-Gawrak(ed.), Bolesław Matuszewski i jego pionierska mysl filmowa (Warsaw: Filmoteka Polska, 1980), translated as ʻA New
Source of Historyʼ, Film History vol. 7 no. 3 (Autumn 1995), pp. 322‒324; A New Source of History/Animated Photography.
What It Is, What It Should Be (Warsaw: Filmoteka Narodowa, 1999).
Matuszewski, Bolesław, Écrits cinématographiques (Paris: Association française de recherche sur lʼhistoire ducinéma/Cinémathèque française, 2006).
Pierce, David, The Survival of American Silent Films: 1912‒1929 (Washington, DC: Library of Congress, 2013).
James Card
Reynolds, Herbert, ʻ“What Can You Do for Us, Barney?” Four Decades of Film Collecting: An Interview With James Cardʼ,Image vol. 20 no. 2 (June 1977), pp. 13‒31.
Card, James, Seductive Cinema. The Art of Silent Film (New York: Knopf, 1994).
Will Day
Day, Wilfred E.L., The Will Day Historical Collection of Cinematograph & Moving Picture Equipment (London: Harris &Gillow, 1930).
Aubert, Michelle, Laurent Mannoni, and David Robinson (eds.), The Will Day Historical Collection of Cinematograph &Moving Picture Equipment (special issue of 1895, October 1997).
Jean Desmet
Blom, Ivo, Jean Desmet and the Early Dutch Film Trade (Amsterdam: Amsterdam University Press, 2003).
Josef Joye
Cosandey, Roland, Welcome Home, Joye! Film um 1910: aus der Sammlung Joseph Joye (Basle: Stroemfeld Verlag, 1993
[KINtop Schriften 1]).
Yumibe, Joshua, ʻFrom Switzerland to Italy and All around the World: The Josef Joye and Davide Turconi Collectionsʼ, in
Richard Abel, Giorgio Bertellini, and Rob King (eds.), Early Cinema and the ʻNationalʼ (Bloomington and New Barnet,
Herts.: Indiana University Press/John Libbey, 2008), pp. 321‒331.
川喜多かしこ
川喜多かしこ『映画ひとすじに』(東京: ⽇本図書センター 1997).
⼩宮登美次郎56

東京国⽴近代美術館フィルムセンター(編)『FC89 発掘された映画たち ――⼩宮登美次郎コレクション Cinema: Lost andFound―From the Collection of Tomijiro Komiya』(東京: 東京国⽴近代美術館フィルムセンター 1991).
Paramesh Krishnan (P.K.) Nair
Nair, P.K., Yesterdayʼs Films for Tomorrow (Mumbai: Film Heritage Foundation, 2017).
［映画作品］

Celluloid Man (Shivendra Singh Dungarpur, Dungarpur Films, India 2012, 164 ́).

5 シェルタ (pp. 275‒278)
Scaife Gott, Benjamin, The Film in National Life (London: Allen and Unwin, 1932).

6 専⾨機関 (pp. 278‒281)
Borde, Raymond, Les Cinémathèques (Paris: LʼÂge dʼHomme, 1983).
Francis, David, ʻDéfinition et fonction des archives cinématographiquesʼ, in Emmanuelle Toulet (ed.), CinéMémoire(Paris: Centre National de la Cinématographie/Ministère de la Culture et de la Communication, 1991), pp. 29‒33.
Slide, Anthony, Nitrate Wonʼt Wait. A History of Film Preservation in the United States (Jefferson, NC, and London:
McFarland, 1992).
Houston, Penelope, Keepers of the Frame: The Film Archives (London: BFI Publishing, 1994).
Borde, Raymond and Freddy Buache, La Crise des Cinémathèques ... et du monde (Lausanne: LʼÂge dʼHomme, 1997).
Cherchi Usai, Paolo, “La cineteca di Babele”, in Gian Piero Brunetta (ed.), Storia del cinema mondiale. Vol. 5 (Turin:
Einaudi, 2001), pp. 965‒1067.
Bottomore, Stephen, ʻFilm Museums: A Bibliographyʼ, Film History vol. 18 no. 3 (2006), pp. 327‒349.
Griffiths, Alison, Shivers Down Your Spine: Cinema, Museums, and the Immersive View (New York: Columbia University
Press, 2008).
Le Roy, Éric, Cinémathèques et archives du film (Paris: Armand Colin, 2013).
Dupin, Christophe, ʻFirst Tango in Paris: The Origins of FIAF, 1936‒1938ʼ, Journal of Film Preservation no. 88 (April 2013),
pp. 43‒58.
Binder, Michael, A Light Affliction: A History of Film Preservation and Restoration (s.l.: Lulu Press, 2015).
⽯原⾹絵『⽇本におけるフィルムアーカイブ活動史』(東京: 美学出版 2018).
Trnka, Jan, The Czech Film Archive 1943‒1993. Institutional Development and Problems of Practice (Prague: NationalFilm Archive, 2018).

57

Ishihara, Kae, ʻA Historical Survey of Film Archiving in Japanʼ, in Joanne Bernardi and Shota T. Ogawa (eds.), Routledge
Handbook of Japanese Cinema (London-New York: Routledge, 2021), pp. 285‒300.
Stoeltje, Rachael, “Interview with David Francis”, Journal of Film Preservation no. 105 (November 2021), pp. 89‒103 (PartI); no. 106 (April 2022), pp. xxx-xxx (Part II).
Iris Barry
Barry, Iris, Letʼs Go to the Movies (New York and London: Payson & Clarke/Chatto & Windus, 1926; facsimile edition,
New York: Arno Press/The New York Times, 1972).
Abbott, John E. and Iris Barry, ʻAn Outline of a Project for Founding the Film Library of the Museum of Modern Artʼ, 17
April 1935, reproduced in Film History vol. 7 no. 3 (Autumn 1995), p. 325.
Barry, Iris, ʻWhy Wait for Posterity?ʼ Hollywood Quarterly vol. 1 no. 2 (January 1946), pp. 131‒137.
Wasson, Haidee, Museum Movies: The Museum of Modern Art and the Birth of Art Cinema (Berkeley and Los Angeles:
University of California Press, 2005).
Sitton, Robert, Lady in the Dark: Iris Barry and the Art of Film (New York: Columbia University Press, 2014).
Raymond Borde
Gauthier, Christophe and Natacha Laurent, Raymond Borde. Une autre histoire du cinéma (Toulouse: Éditions Privat,2022).
Frank Hensel
Aurich, Rolf, ʻCinéaste, Collector, National Socialist: Frank Hensel and the Reichsfilmarchivʼ, Journal of Film Preservation
no. 64 (April 2002), pp. 16‒21.
Henri Langlois
Langlois, Henri and Maria Adriana Prolo, Le Dragon et lʼalouette: correspondance 1948‒1979, edited by Sergio Toffetti(Turin: Museo Nazionale del Cinema, 1992).
Myrent, Glenn and Georges P. Langlois, Henri Langlois, premier citoyen du cinéma (Paris: Denoël, 1986); English
translation, Henri Langlois, First Citizen of Cinema (New York: Twayne, 1995).
Roud, Richard, A Passion for Films (Baltimore, MD: Johns Hopkins University Press, 1999).
［映画作品］

Citizen Langlois (Edgardo Cozarinsky, Cinémathèque française/Canal+/Institut National de lʼAudiovisuel (INA), France
1994, 69ʼ).

Le Fantôme dʼHenri Langlois (Jacques Richard, Cinémathèque française/Les Films Élémentaires, France 2004, 210ʼ). US
release, Henri Langlois: The Phantom of the Cinémathèque (Leisure Time Features, 2005; DVD: Kino Lorber, 2006).

58

Jacques LedouxHead, Anne (ed.), A True Love for Cinema (The Hague: Universitaire Pers Rotterdam, 1988).
Nasta, Dominique (ed.), ʻJacques Ledoux, Lʼéclaireurʼ, special issue of Revue belge du cinéma no. 40 (November 1995).
Piette, Christophe (ed.), Jacques Ledoux (Brussels: Cinémathèque royale de Belgique, 2021).
Ernest Lindgren
Lindgren, Ernest, ʻThe Work of the National Film Libraryʼ, Journal of the British Kinematograph Society vol. 8 no. 1(January‒March 1945), pp. 13‒22.
Lindgren, Ernest, ʻThe Importance of Film Archivesʼ, Penguin Film Review no. 5 (1948), pp. 47‒52.
Butler, Ivan, ʻTo Encourage the Art of the Filmʼ: The Story of the British Film Institute (London: Robert Hale, 1971).
Dupin, Christophe, ʻThe Origins and Early Development of the National Film Library: 1929‒1936ʼ, Journal of Media
Practice vol. 7 no. 3 (2007), pp. 199‒217.
Cinémathèque française
Olmeta, Patrick, La Cinémathèque française de 1936 à nos jours (Paris: CNRS, 2000).
Barbin, Pierre, ʻContribution à une histoire de la Cinémathèque françaiseʼ, Commentaire vol. 101 (Spring 2003), pp. 155‒
166.
Mannoni, Laurent, Histoire de la Cinémathèque française (Paris: Gallimard, 2006).
Cineteca Italiana
Casetti, Francesco (ed.), La Cineteca Italiana. Una storia milanese (Milan: Il Castoro, 2005).
Cineteca Nazionale
Baldi, Alfredo (ed.), 70 anni della Cineteca Nazionale del Centro Sperimentale di Cinematografia, 1949‒2019 (Rome:
Rubbettino/Edizioni di Bianco e Nero, 2019)
Reichsfilmarchiv
Zöller, Alexander, Das Erbe des Reichsfilmarchivs. Eine Institution zwischen NS-Filmpolitik und Erinnerungskultur(Munich: edition text + kritik, 2023).
［映画作品］

Das Reichsfilmarchiv. Geschichte einer deutschen Institution (Heinrich Adolf, Stillatemporis, Munich, Germany, 104ʼ).

7 蒐集家 (pp. 281‒284)

59

McKee, Gerald, Film Collecting (South Brunswick and New York: A.S. Barnes & Co.; London: The Tantivy Press, 1978).
Kula, Sam, Appraising Moving Images: Assessing the Archival and Monetary Value of Film and Video Records (Lanham,MD, and Oxford: Scarecrow Press, 2003).
Bartok, Dennis and Jeff Joseph, A Thousand Cuts: The Bizarre Underground World of Collectors and Dealers Who Saved
the Movies (Jackson, MS: University Press of Mississippi, 2016).
［ウェブサイト］
Nitrateville: https://www.nitrateville.com［映画作品］

Saving Brinton (Tommy Haines and Andrew Sherburne, Bocce Balls Films/Northland Films, US 2017, 90ʼ).

第 11 章 証拠 (pp. 285‒307)［ウェブサイト］
Ciné-Ressources: www.cineressources.net
The Bioscope: http://thebioscope.net (2007‒2012)
Le grimh: www.grimh.org
Internet Archive: www.archive.org
Media History Digital Library: http://mediahistoryproject.org

1 ストーリー (pp. 287‒289)
Bergsten, Bebe (ed.), Biograph Bulletins, 1896‒1908 (Los Angeles: Locare Research Group, 1971).
Bowser, Eileen (ed.), Biograph Bulletins, 1908‒1912 (New York: Octagon Books, n.d. [1973]).
Herbert, Stephen, Colin Harding, Simon Popple (eds.), Victorian Film Catalogues. A Facsimile Collection(London: The Projection Box, 1996).
Jenkins, Reese V. (ed.), The Thomas A. Edison Papers: A Guide to Motion Picture Catalogues by American Producers andDistributors, 1894‒1908 (Frederick, MD: University Publications of America, 1985 [six reels of 35mm microfilm]).
Wlaschin, Ken and Stephen Bottomore, ʻMoving Picture Fiction of the Silent Era, 1985‒1928ʼ, Film History vol. 20 no. 2(2008), pp. 217‒260.

2 定期刊⾏物 (pp. 289‒291)
60

Abel, Richard, Menus for Movieland: Newspapers and the Experience of American Film Culture, 1913‒1916 (Oakland:
University of California Press, 2015).
Abel, Richard, “Digging into Digital Newspapers in a Dark Time”, The Movimg Image vol. 20, nos. 1‒2 (Spring-Fall 2020),
pp. 156-185.
［ウェブサイト］
Domitor Film Journals Project: https://domitor.org/journals［年鑑］

The Bioscope Annual and Diary for 1909 (London: The Bioscope Press, 1909).
The Bioscope Annual and Trades Directory (London: Ganes, 1910‒1915).
Kinematograph Year Book (London: Kinematograph Publications, 1914‒1971).
Motion Picture Studio Directory and Trade Annual (New York and Chicago: Motion Picture News, 1915‒1921).
Annuaire général de la cinématographie française et étrangère (Paris: Éditions de Ciné-Journal, 1917‒1918).
The Film Daily Yearbook of Motion Pictures (New York: Widʼs Film and Film Folk): Widʼs Yearbook (1918‒1921); Film
Year Book (1922‒1926); Film Daily (1927); Film Daily Yearbook (1928‒1929).
Le Tout-cinéma. Annuaire général illustré du monde cinématographique (Paris: Filma, 1921‒1935).
Pascal, Jean (ed.), Annuaire général de la cinématographie et des industries qui sʼy rattachent (Paris:Cinémagazine/Publications Jean Pascal, 1922‒1930).
Wolffsohn, Karl (ed.), Jahrbuch der Filmindustrie (Berlin: Verlag der ʻLichtbildbühneʼ, 1923‒1933).

無声映画時代の定期刊⾏物
アルゼンチン

Excelsior (1914‒1932)
La Película (1916‒1948)
Imparcial Film (1918‒1948)
Cine Universal (1919‒1921)
Revista del Exhibidor (1926‒1966)
オーストラリア61

Australian Variety (1913‒1916), later renamed Australian Variety and Show World (1916‒1920), Everyoneʼs Variety: withwhich is incorporated Australian Variety and Show World (1920‒1927), Everyoneʼs (1927), and Everyoneʼs: The Motion
Picture Authority (1927?‒1937)
The Film Weekly (1926‒1973)
The Regent Magazine: A Weekly Journal Dedicated to the Art of Moving Pictures (1928‒1935)
オーストリア=ハンガリー帝国とオーストリア(セルビア⼈・クロアチア⼈・スロベニア⼈王国も参照のこと)

Das Kino-Journal (1908‒1938)
Kinematographische Rundschau (1909‒1916)
Kinematografski vjesnik (1916) [Croatia]
Der Kinobesitzer (1917‒1919)
Paimannʼs Filmlisten (1916‒1965)
Neue Kino-Rundschau (1917‒1921)
Der Filmbote (1918‒1926)
Die Kinowoche (1919‒1922)
Die Filmwelt (1919‒1925)Österreichische Film-Zeitung (1927‒1938)
ベルギー

La Cinématographie et les industries connexes, supplement mensuel de la Comète belge (1907‒1911), later renamed La
Comète Cinéma (1911‒1914)
La Revue belge du cinéma (1911‒1914; 1919‒1940)
Le Cinéma belge (1918‒1931)
Cinema en Toneelwereld (1919‒1920), later renamed Weekblad Cinema (1920‒1940)
Ciné Revue (1921‒1925)
Le Cinéma international (1921‒1935)
Bulletin de la fédération belge cinématographique (1923‒1932)
Film-revue (1923‒1936)
Bulletin de lʼAssociation cinématographique de Belgique (1924‒1932)62

Bosnia-Herzegovina see Kingdom of Serbs, Croats, and Slovenes; Austro-Hungarian Empire and Austria
ブラジル

A Scena Muda (1921‒1955)
Cinearte (1926‒1942)
O Fan (1928‒1930)
ブルガリア

Nasheto kino Нашето кино (1924‒1936)
Kino Кино (1927‒1936)
Kinopregled/Kinematographicheski pregled Кинопрeглед/Кинематографически
преглед (1920‒1923)

Kinozvezda ‒ Kinostar Кинозвезда (1920‒1929)
Kinovestnik Киновестник (1924‒1925), merged with Kinozvezda in 1925
Kinoek ‒ Kinopeal Киноек (1925‒1927)
カナダ

La Revue du Ouimetoscope (1906‒1909)
Le Panorama (1919‒1921)
The Canadian Moving Picture Digest (1919‒1957)
Le Film (1921‒1962)
Cinéma (1921‒1924)
Le Studio (1924)
Le Bon Cinéma (1927‒1929)
LʼÉcran (1927)
La Revue de Manon (1925‒1930)
チリ

Cinema (1913‒1914)

63

Chile Cinematográfico (1915‒?)
Cine Gaceta (1915‒?)
La semana cinematográfica (1918‒1920)
Ecran (1930‒1969)
中国

Yingxi zazhi 影戲雜誌 (1921‒1922)
Yinxing 银星(1926‒1928)
Yingxi huabao 影戏画报 (1927‒1928)
Dianying yuebao 電影⽉報 [Cinema Monthly] (1928‒1929)
コロンビア

Cinematógrafo (1908‒?)
El Olympia (1913‒?)クロアチア
セルビア⼈・クロアチア⼈・スロベニア⼈王国、オーストリア=ハンガリー帝国、オーストリアを参照のこと
キューバ

Cuba cinematográfica (1912‒1914)
Czech countries in Austria-Hungary (to October 1918) and Czechoslovakia (from 28 October 1918)
オーストリア=ハンガリー帝国(1918 年 10 ⽉まで)とチェコスロバキア(1918 年 10 ⽉ 28 ⽇から)のチェコ諸国

Český kinematograf (1911‒1912)
Kinematografický věstník (1914‒1919)
Zprávy (1917‒1920), later renamed Zpravodaj. Spolku českých majitelů kinematografů (1921‒1922) and Zpravodaj.
Zemského svazu kinematografů v Čechách (1922‒1930)Československý film (1918‒1921)
Filmschau (1919‒1920), later renamed Internationale Filmschau (1920‒1934)
Die Lichtspielbühne (1920‒1933)Český filmový zpravodaj (1921‒1942)

64

Film (1921‒1938)Český filmový svět (1922‒1928)
Denmark

Teatret (1901‒1931)
Nordisk Biograf Tidende (1909‒1911)
Masken (1910‒1924)
Biografteaterbladet (1911‒1913)
Filmen (1912‒1919), later renamed Kinobladet (1919‒1926), then Biograf-Bladet (1927‒1973) Palads-Teatrets
Filmnyheder (1919‒1928)
フィンランドBio (1910)
Biograafi (1915); Swedish edition: Biograftidning, both merged into Bio (1915‒1916)
Filmiaitta (1921‒1932); also in Swedish, as Filmrevyn (1921‒1927)
Elokuva (1927‒1932)
フランス

Phono-ciné-gazette (1905‒1909)
Ciné-Journal (1908‒1937)
Le Courrier cinématographique (1911‒1914; 1917‒1936)
Le Cinéopse (1919‒1967)
Ciné pour tous (1919‒1923)
Cinéa (1921‒1923)
Cinéa-Ciné pour tous (1923‒1930)
Cinéa-Ciné pour tous réunis (1930‒1932)
ドイツ

Erste Internationale Filmzeitung (1907‒1920)
Der Kinematograph (1907‒1935)

65

Lichtbild-Bühne (1908‒1939)
Bild und Film (1912‒1915?)
Der Film (1916‒1943)
Filmkurier (1919‒1944)
英国

The Era (1838‒1939)
The Optical Magic Lantern Journal (1889), later renamed The Optical Lantern and Cinematograph Journal (1904), The
Kinematograph and Lantern Weekly (1907), and The Kinematograph Weekly (1919‒1959)
The Bioscope (1908‒1932)
The Cinema: News and Property Gazette (1912‒1957)
Pictures and the Picturegoer (1914‒1920), later renamed Picturegoer (1921‒1960)
ギリシャ

Kinematographos Κινηματογράφος (1923‒1924?)
Kinematographike bibliotheke Κινηματογραφική βιβλιοθήκη (1923‒1924?)
Kinematographikos aster Κινηματογραφικός αστήρ (1924‒1970)
オーストリア=ハンガリー帝国(1918 年まで)とハンガリー(1918 年以降)のハンガリー諸国

Mozgófénykép híradó (1908‒1920)
Mozivilág (1912‒?)A mozgószínház (1913‒?)
Mozi (1913‒?)
Mozifutár (1918‒?)
Mozihét (1918‒22)
Az új film (1919‒?)
Filmjáték (1925‒?)
Magyar Filmkurir (1927‒?)66

Filmkultúra (1928‒1938)
インド

Bijoli (1920‒?; in Bengali)
Mojmajah/Mouji [Moj] Majah (1924‒1950?; in Gujarati)
Photoplay (1926‒?; in English)
Movie Mirror (1927‒?; in English)
Kinema/Cinema (1927‒40?; in English)
Shabistan (1929‒?; in Urdu)
Chitrapat (1929‒?; in Gujarati)
Dipali (1929‒1955; in Bengali and English)
イタリア

Rivista fono-cinematografica (1907‒1909), later renamed La cine-fono e la rivista fono-cinematografica (1909‒1928)
La cinematografia italiana (1908‒1926)
Lux (1908‒1911?)
La vita cinematografica (1910‒1933)
Film (1914‒1928)
La rivista cinematografica (1920‒1943)
Lʼeco del cinema (1923‒1943)
Il corriere cinematografico (1924‒1940)
Turconi, Davide and Camillo Bassotto, Il cinema nelle riviste italiane dalle origini ad oggi (Venice: Edizioni Mostracinema,
n.d. [1972]); revised and updated edition: Riccardo Redi (ed.), Cinema scritto. Il catalogo delle riviste italiane del cinema,
1907‒1944 (Rome: Associazione Italiana per le Ricerche di Storia del Cinema, 1992).
⽇本
活動写真界 (1909‒1911)
フィルム・レコード (1913)
キネマ・レコード (1913‒1917)

67

キネマ旬報 (1919‒present)
活動寫眞雑誌 (1915‒1920?)
活動之世界 (1916‒1923)
活動畫報 (1917‒1923)
活動評論 (1918‒1919)
活動倶楽部 (1918‒1927)［復刻版と複写版］
牧野守(編)『⽇本映画初期資料集成 復刻版』. 活動写真雑誌 1915 年 6-12 ⽉[1‒2]; 活動之世界 1916 年 1-12 ⽉[3‒5]; 活動画報, 1917 年 1-12 ⽉[6‒9]; 活動倶楽部(活動評論), 1918 年 12 ⽉-1920 年 12 ⽉[10‒14](東京: 三⼀書房 1990‒1991).
岩本憲児、牧野守 (編)『キネマ旬報 復刻版』(東京: 雄松堂 1994‒1996, 全 19 冊).
セルビア⼈・クロアチア⼈・スロベニア⼈王国／ユーゴスラビア王国(オーストリア=ハンガリー帝国とオーストリアも参照のこと)
Kinofon (1921‒1923) [Croatia]
Comedia ‒ Časopis za pozorište, muziku i film (1923‒1927) [Serbia]
Filmska revija (1925‒1926) [Bosnia-Herzegovina]
Filmske novine (1926‒1927) [Serbia]
Filmska revija, stručni filmski list (1926‒1933) [Croatia]
Kino i film (1926?‒1933?) [Croatia]
Narodna filmska umjetnost (1926?‒1933?) [Croatia]
Filmska revija (1927‒1941) [Croatia]
Kulisa (1927‒1935; 1937‒1939) [Croatia]
メキシコ
Cine-Mundial (1920‒?)
Magazine Fílmico (1926‒1929)
Mundo Cinematográfico (1930‒1934)
モンテネグロセルビア⼈・クロアチア⼈・スロベニア⼈王国、オーストリア=ハンガリー帝国とオーストリアを参照のこと

68

オランダ
De Bioscoop-Courant (1912‒1919)
De Kinematograaf (1913‒1919), later renamed De Film (1919‒1920)
Tooneel en Bioscoop (1915‒1925?)
De Lichtstraal (1916‒1921)
De Film-Wereld (1918‒1920)
Kunst en Amusement (1920‒1927?)(Het Weekblad) Cinema en Theater (1921‒1944)
Nieuw Weekblad voor de Cinematografie (1922‒1964)
Het Lichtbeeld (1923‒1933)
ニュージーランド／アオテアロア
The New Zealand Theatre & Motion Picture (1920‒1930)
ノルウェー
Norsk Kinematograf-Tidende (1915‒1917), later renamed Film og Kino (1917‒1922)
Helt og skurk (1918‒1920)
Filmen og vi (1919‒1930)
ポーランド
Kino-Teatr i Sport (1914‒?)
Kino (1919‒1920)
Kinematograf Polski (1919‒1921)
Przegląd Teatralny i Kinematograficzny (1921‒1922)
Ekran i Scena (1923‒1932)
Tygodnik Filmowy i Teatralny (1925‒1926)
Comoedia (1926‒1927)
Kino-Teatr (1926‒1928)

69

Kino dla Wszystkich (1926‒1934)
ポルトガル
Cine-revista (1917‒1924)
Porto cinematográfico (1919‒1924)
Jornal dos cinemas (1923)
Invicta cine: semanário ilustrado de cinematografia (1923‒1933)
Cine: revista mensal de arte cinematográfica (1928‒31)
Cinéfilo (1928‒1939)
Imagem: tribuna livre do cinema (1928)
ルーマニア
Revista pentru fotografie, stereoscopie, proiecţiuni cinematografice şi foto (1904)Viaţa cinematografică în România, Bulgaria, Serbia, Grecia, Turcia şi Egipt (1914)
Filmul (1923‒1925)
Cinema (1924‒1948)
Clipa cinematografică (1925‒1928)Viaţa cinematografică (1927)
Filmul meu (1927‒1930)
ロシアとソビエト連邦
Sine-fono Сине-фоно (1907‒1918)
Kine-zhurnal Кине-журнал (1910‒1917)
Vestnik kinematografii Вестник кинематографии (1910‒1917)
Kinoteatr i zhiznʼ Кино-театр и жизнь (1913)
Pegas Пегас (1915‒1917)
Proektor Проэктор (1915‒1918)
Kino-fot Кино-фот (1922)70

Ekran kino-gazety Экран кино-газеты (1925, as a supplement to Kino Кино [Moscow]), renamed
Sovetskii ekran Советский экран (1925‒9), Kino i zhiznʼ Кино и жизнь (1929‒30), Proletarskoe
kino Пролетарское кино (1931‒2), Sovetskoe kino Советское кино (1933‒5), and Iskusstvo
kino Искусство кино (1936‒present)
セルビア
セルビア⼈・クロアチア⼈・スロベニア⼈王国、オーストリア・ハンガリー帝国とオーストリアを参照のこと
スロベニア
セルビア⼈・クロアチア⼈・スロベニア⼈王国、オーストリア・ハンガリー帝国とオーストリアを参照のこと
スペイン
Artistico-Cinematografico (1907‒1908)
Arte y Cinematografía (1910‒1936)
El cine (1911‒29; 1931‒1932)El mundo cinematográfico (1915‒1927)
Cine-Mundial (1916‒1948; Spanish edition of The Moving Picture World)
Cinema [Madrid] (1918‒1926?)
Tras la Pantalla (1920‒1922)
Cinema-Variedades (1920‒1927)
Popular Film (1926‒1936)
スウェーデン
Filmbladet (1915‒1925)
Biografen (1913‒1915)
Filmen (1918‒1920)
Filmjournalen (1919‒1953)
Filmnyheter (1920‒1929)
スイス

Kinema (1913‒1919)
Schweizer Cinéma Suisse (1919‒1937)

71

Revue suisse du cinéma (1919‒1929)
Ciné. Revue dʼart cinématographique (1926‒1929)
Close Up (1927‒1933)
⽶国

The New York Clipper (1853‒1923)
The New York Dramatic Mirror (1879‒1922)
Views and Film Index (1906‒1908), later renamed The Film Index (1908‒1911)
Show World (1908‒1909)
Nickelodeon (1909‒1911), later renamed Motography (1911‒1918), Exhibitorsʼ Herald and Motography (1918‒1919), andExhibitorsʼ Herald (1919‒1927)
Moving Picture News (1908‒1913)
The Moving Picture World (1907‒1927)
Motion Picture News (1908‒1930)
DʼAgostino, Annette, An Index to Short and Feature Film Reviews in the Moving Picture World: The Early Years 1907‒
1915 (Westport, CT, and London: Greenwood Publishing Group, 1995).
DʼAgostino, Annette, Filmmakers in the Moving Picture World: An Index of Articles, 1907‒1927 (Jefferson, NC: McFarland,1997).

Variety Film Reviews: Vol. 1: 1907‒1920; Vol. 2, 1921‒ 1925; Vol. 3: 1926‒1929; Vol. 16: Index to Titles (New York:
Garland Press, 1983).

The New York Times Film Reviews, 1913‒1968 (New York: The New York Times/Arno Press, 1970).
ウルグアイ

Semanal Film (1920‒1922)
Cinema y Teatros (1920‒1921)
Cine Revista (1922‒1923)
Montevideo Film (1923)
Uruguay Cinema (1927‒1928)
Yugoslavia (Kingdom of) see Kingdom of Serbs, Croats, and Slovenes; Austro-Hungarian Empire and Austria
ユーゴスラビア（王国）72セルビア⼈・クロアチア⼈・スロベニア⼈王国、オーストリア=ハンガリー帝国、オーストリアを参照のこと
Comic Strips and Caricatures (p. 228)
Bottomore, Stephen, I Want to See This Annie Mattygraph. A Cartoon History of the Coming of the Movies (Pordenone:
Le Giornate del Cinema Muto, 1995).

4 解説 (pp. 293‒294)
Urban, Charles, The Cinematograph in Science, Education, and Matters of State (London: Charles Urban Trading
Company, 1907).
Grau, Robert, The Theatre of Science. A Volume of Progress and Achievement in the Motion Picture Industry [or Motion
Picture Art, as it appears on the cover] (New York, London, and Paris: Broadway Publishing Company, 1914; reprint, New
York: B. Blom, 1969).
Lindsay, Vachel, The Art of the Moving Picture (New York: Macmillan, 1915; revised edition, 1922; reprint, New York:
Modern Library, 2000).
Dench, Ernest A., Making the Movies (New York: Macmillan, 1915).

The Cinema. Its Present Position and Future Possibilities (London: Williams and Norgate, 1917).
Dench, Ernest A., Motion Picture Education (Cincinnati, OH: The Standard Publishing Company, 1917).
Wagner, Rob [pseud. of Robert Leicester], Film Folk. ʻClose-Upsʼ of the Men, Women and Children Who Make theʻMoviesʼ (New York: The Century Company, 1918).
Young, Donald, Motion Pictures. A Study in Social Legislation (Philadelphia, PA: Westbrook Publishing Company, 1922).
Van Zile, Edward Sims, That Marvel ‒ The Movie. A Glance at Its Reckless Past, Its Promising Present, and Its Significant
Future (New York and London: G.P. Putnamʼs Sons/ The Knickerbocker Press, 1923).
Bloem, Walter S. [Julius], The Soul of the Moving Picture (New York: E.P. Dutton, 1924).
Reboul, Eugène, Le Cinéma scolaire et éducateur (Paris: Les Presses Universitaires de France, 1926).
Delpeuch, André, Le Cinéma (Paris: Librairie Octave Doin, 1927).
Fletcher, John Gould, The Crisis of the Film (Seattle: University of Washington Book Store, 1929).
［映画作品］

Whatʼs Wrong With the Cinema? (Adrian Brunel [?], Gainsborough Pictures [?]/Michael Balcon [?], UK 1925?, 4ʼ).
［回想録 (p. 294) ］
Arvidson, Linda, When the Movies Were Young (New York: E.P. Dutton, 1925).

73

Ghione, Emilio, ʻMemorie e confessioniʼ, Cinemalia, March‒December 1928; reprinted in Ghione, Scritti sul cinematografo(Ancona: Cattedrale, 2011).
Mesguich, Félix, Tours de manivelle. Souvenirs dʼun chasseur dʼimages (Paris: Grasset, 1933).
Messter, Oskar, Mein Weg mit dem Film (Berlin and Schöneberg: M. Hesse, 1936).
Méliès, Georges, La Vie et lʼŒuvre dʼun des plus anciens pionniers de la Cinématographie Mondiale, Georges Méliès,
créateur du spectacle Cinématographiquees mémoires [ms, 1936]; facsimile reproduction in the first 500 copies ofMaurice Bessy and Giuseppe Maria Lo Duca, Georges Méliès, mage (Paris: Prisma, 1945).
Gardin, Vladimir, Vospominaniia. Vol. 1 (Moscow: Goskinoizdat, 1949); Vol. 2 (Moscow: Goskinoizdat, 1952).
Hepworth, Cecil M., Came the Dawn. Memoirs of a Film Pioneer (London: Phoenix House, 1951).
Vidor, King, A Tree Is a Tree (New York: Harcourt, Brace, 1952).
Fescourt, Henri, La Foi et les montagnes, ou le 7ème art au passé (Paris: Publications Photo-Cinéma Paul Montel, 1959).
Wagenknecht, Edward, The Movies in the Age of Innocence (Norman: University of Oklahoma Press, 1962).
Balshofer, Fred and Arthur C. Miller, One Reel a Week (Berkeley and Los Angeles: University of California Press, 1967).
Gish, Lillian, The Movies, Mr. Griffith and Me (Englewood Cliffs, NJ: Associated University Presses, 1969).
Brown, Karl, Adventures With D.W. Griffith (New York: Farrar, Straus & Giroux, 1973).
Guy, Alice, Autobiographie dʼune pionnière du cinéma (Paris: Denoël/Gonthier, 1976).
岩崎昶『映画が若かったとき――明治・⼤正・昭和三代の記』(東京: 平凡社 1980).
岩本憲児、佐伯 知紀(編)『聞書き キネマの⻘春』(東京: リブロポート 1988), pp. 77‒100.
Pathé, Charles, Écrits autobiographiques (Paris: lʼHarmattan, 2006).
Norden, Martin F. (ed.), Lois Weber: Interviews (Jackson: University Press of Mississippi, 2019).

5 エフェメラ (p. 294‒297)
Anselmo, Diana W., ʻBound by Paper: Girl Fans, Movie Scrapbooks, and Hollywood Reception During World War Iʼ, Film
History, vol. 31, no. 3, 2019, pp. 141‒172.
［歌 (p. 295)］
Wlaschin, Ken, The Silent Cinema in Song, 1896‒1929. An Illustrated History and Catalog of Songs Inspired by the Movies
and Stars, With a List of Recordings (Jefferson, NC: McFarland, 2009).
［広報⽤スチル写真(pp. 296‒297) ］

74

Martin, Shirley V., ʻThe Still Camera. A Maker of Still Photography Tells the Value of Good Stills in Selling a Motion
Picture to the Publicʼ, The American Cinematographer vol. 2 no. 20 (1 November 1921), pp. 6‒7.
Kobal, John, Film and Entertainment, Including the Private Collection of John Kobal (London: Christieʼs South Kensington,1992).
Kobel, Peter, Silent Movies: The Birth of Film and the Triumph of Movie Culture (New York: Little, Brown and Company,2007).
Shields, David S., Still: American Silent Motion Picture Photography (Chicago, IL: University of Chicago Press, 2013).
［ポスター(p. 296‒297) ］
Capitaine, Jean-Louis, Invitation au cinématographe. Les affiches des origines, 1895‒1914 (Paris: Maeght, 1993).
Baburina, Nina I., The Silent Film Poster, 1908‒1934 (Moscow: Art-Rodnik, 2011).
Della Torre, Roberto, Invito al cinema. Le origini del manifesto cinematografico italiano, 1895‒1930 (Milan: EDUCatt,
2014).

6 歴史 (pp. 298‒300)
Hopwood, Henry V., Living Pictures: Their History, Photo-Production and Practical Working, With a Digest of British
Patents and Annotated Bibliography (London: Optician & Photographic Trades Review, 1899).
Konwiczka, Hans, Kinematograph (Leipzig: H. Beyer, 1911).
Forch, Carl, Der Kinematograph und das sich bewegende Bild. Geschichte und technische Entwicklung derKinematographie bis zur Gegenwart (Vienna and Lipsia: A. Hartlebenʼs Verlag, 1913).
Lubschez, Ben Jehudah, The Story of the Motion Picture 65 B.C. to 1920 A.D. (New York: Reeland, 1920).
Ramsaye, Terry, A Million and One Nights: A History of Motion Picture rough 1925 (New York: Simon & Schuster, 1926;
reprint, Touchstone/Simon & Schuster, 1986).
Hampton, Benjamin B., A History of the Movies (New York: Covici-Friede, 1931).
Bardèche, Maurice and Robert Brasillach, Histoire du cinéma (Paris: Denoël et Steele, 1935); English translation by Iris
Barry, The History of Motion Pictures (New York: W.W. Norton/Museum of Modern Art, 1938).
Sadoul, Georges, Histoire générale du cinéma. Vol. 1: LʼInvention du cinéma, 1832‒1897; Vol. 2: Les Pionniers du cinéma(de Méliès à Pathé), 1897‒1909; Vol. 3: Le Cinéma devient un art, 1909‒1920; Vol. 4, LʼArt muet, 1919‒1929 (Paris:Denoël, 1946‒75).
Toeplitz, Jerzy, Historia sztuki filmowej (Warsaw: Filmowa Agenca Wydawnicza, 1955); German translation, Geschichte
des Films (Munich: Rogner & Bernhard, 1973).
Paolella, Roberto, Storia del cinema muto (Naples: Giannini, 1956).

75

Deslandes, Jacques and Jacques Richard, Histoire comparée du cinéma. Vol. 2: 1897‒1906 (Paris: Casterman, 1968).
Mitry, Jean, Histoire du cinéma: art et industrie. Vol. 1: 1895‒1914; Vol. 2: 1915‒1925; Vol. 3: 1923‒1930 (Paris: Éditions
Universitaires, 1967‒1973).

7 インベントリ (pp. 300‒302)
Mitry, Jean (ed.), Filmographie universelle (Paris: IDHEC, 1963‒73; Service des Archives du film du CNC, 1979‒1988, 35
vols.).
Goble, Alan (ed.), The International Film Index, 1895‒1990 (London: Bowker-Saur, 1991).

8 フィルモグラフィ (pp. 302‒305)
Nowell-Smith, Geoffrey, ʻFilmographyʼ, Screen vol. 32 no. 4 (Winter 1991), pp. 452‒455.
Summers, Howard (ed.), The Guide to Movie Lists. Volume 1, Filmographies of the World; Volume 2, Genres, Subjects
and Themes; Volume 3, Appendices (Borehamwood: Howcom Services, 2018).
The 1978 Brighton FIAF Conference on Early Cinema (pp. 236‒237)
Bowser, Eileen, ʻThe Brighton Project: An Introductionʼ, Quarterly Review of Film Studies vol. 4 no. 4 (Fall 1979), pp. 509‒
538.
Holman, Roger and André Gaudreault (eds.), Cinema 1900‒1906: An Analytical Study (Brussels: FIAF, 1982, 2 vols.).
ʻThe Brighton FIAF Conference (1978): Ten Years Afterʼ, Historical Journal of Film, Radio and Television vol. 11 no. 3(1991), pp. 279‒291.

ナショナル・フィルモグラフィー
アルゼンチンLa epoca muda del cine argentino (Buenos Aires: Centro de Envestigacion de la Historia del Cine Argentino, 1958, 2ndedition).
ʻFilmografia. Películas nacionales estrenadas entre 1896 y 1910 en las ciudades de Buenos Aires y Mar del Plataʼ, inHistoria de los primeros años del cine en la Argentina, 1895‒1910 (Buenos Aires: Fundación Cinemateca Argentina,1996), pp. 113‒123.
Mafud, Lucio. La imagen ausente. El cine mudo argentino en publicaciones gráficas. Catálogo. El cine de ficción, 1914‒
1923 (Buenos Aires: Teseo, 2016).
オーストラリア
Pike, Andrew and Ross Cooper, Australian Film, 1900‒1977: A Guide to Feature Film Production (Melbourne: Oxford
University Press/Australian Film Institute, 1980).
オーストリア=ハンガリー帝国とオーストリア

76Fritz, Walter, Die Österreichischen Spielfilme der Stummfilmzeit, 1907‒1930 (Vienna: Österreichisches
Filmarchiv/Osterreichische Gesellschaft für Filmwissenschaft, 1967).
Thaller, Anton, Österreichische Filmografie. Spielfilme 1906‒1918 (Vienna: Filmarchiv Austria, 2010).
ベルギー
Thys, Marianne (ed.), Belgian Cinema: Filmography of Belgian Movies, 1896‒1996 (Brussels: Ludion, 1996).
ブラジル
Bernadet, Jean-Claude, Filmografia do cinema brasileiro: 1900‒1935 (São Paulo: Secretaria da Cultura de São Paulo,1979).
Noronha, Jurandyr, Dicionário de cinema brasileiro. De 1896 a 1936. Do Nascimento ao sonoro (Rio de Janeiro: EMC,
2008).
ブルガリア
Kardzhilov, Peter, Bulgarian Feature Films. An Annotated Illustrated Filmography, Vol. 1 (1915‒1948) (Sofia: Bulgarska
Nacionalna Filmoteka/Peter Beron State Publishing House, 1987).
カナダ
Turner, D. John, Canadian Feature Film Index/Index des films canadiens de long métrage, 1913‒1985 (Ottawa: NationalFilm, Television and Sound Archives/ Archives nationales du film, de la télévision et de lʼenregistrement sonore, 1987).
Morris, Peter and Larry Kardish (ed.), Canadian Feature Films, 1913‒1969: Part 1, 1913‒1940 (Ottawa: Canadian Film
Institute, 1970).
中⽶ʻFilmografía centroamericana (1896‒2004)ʼ, in María Lourdes Cortes (ed.), La pantalla rota. Cien años de cine en
Centroamerica (México: Taurus, 2005).
チリ［ウェブサイト］
Cine Chile. Enciclopedia del cine chileno: http://www.cinechile.cl/
中国
Jihua, Cheng, Li Shaobai, Xing Zuwen, ʻChinese Cinema: Catalogue of Films, 1905‒1937ʼ, Griffithiana vol. 18 no. 54(October 1995), pp. 4‒77.
Toroptsev, Sergei Arkadevich, Ocherk istorii kitaiskogo kino, 1896‒1966 (Moscow: Nauka, 1979).
コロンビア

77

ʻIndice de peliculas y casas productorasʼ, in Hernando Martínez Prado, Historia del cine colombiano (Bogotá: Libreria y
Editorial America Latina, 1978).

Largometrajes colombianos en cine y video, 1915‒2004 (Bogotá: Fundación Patrimonio Fílmico Colombiano, 2005).
Documentales colombianos 1915‒1950 (Bogotá: Fundación Patrimonio Fílmico Colombiano, 2007).
コスタリカ
中⽶を参照のこと
キューバ
Douglas, María Eulalia, Catálogo del cine cubano 1897‒1960 (Havana: Ediciones ICAIC, 2008).
オーストリア=ハンガリー帝国(1918 年 10 ⽉まで)とチェコスロバキア(1918 年 10 ⽉ 28 ⽇から)のチェコ諸国

Český hraný film I, 1898‒1930 (Prague: Národní filmový archiv, 1995).
Kolar, Jan S. and Myrtil Frida, Ceskoslovensky Nemy Film 1898‒1930 (Prague: Ceskoslovensky Film, 1957).
デンマーク
Engberg, Marguerite, Registrant over danske film, 1896‒ 1930, Vol. 1: 1896‒1909; Vol. 2: 1910‒1912; Vol. 3: 1913‒1914;
Vol. 4: 1915‒1917; Vol. 5: 1918‒1930 (Copenhagen: Institut for Filmvidenskab, 1977‒1982).
［ウェブサイト］
Det Danske Filminstitut ‒ Filmdatabasen: http://www.dfi.dk/FaktaOmFilm.aspx
Danish Silent Film ‒ https://www.stumfilm.dk/en/stumfilm
エルサルバドル
中⽶を参照のこと
フィンランドSuomen Kansallis filmografia. Vol. I: 1907‒1933 (Helsinki: Suomen elokuva-arkisto, 1996).
フランス
Frazer, John, Artificially Arranged Scenes: The Films of Georges Méliès (Boston, MA: G.K. Hall, 1979).
Malthête-Méliès, Madeleine, Anne-Marie Quévrain, and Jacques Malthête, Essai de reconstitution du catalogue françaisde la Star-Film (Bois dʼArcy: Centre National de la Cinématographie, 1981).
Chirat, Raymond, Catalogue des films français de long métrage: films de fiction, 1919‒1929 (Toulouse: Cinémathèque deToulouse, 1984).

Gaumont: 90 ans de cinéma (Paris: Ramsay/La Cinémathèque française, 1986).

78

Tharrats, Juan Gabriel, Los 500 films de Segundo de Chomón (Zaragoza: Prensas Universitarias, 1988).
ʻSociété Française des Films et Cinématographes Éclair (1907‒1919): A Checklistʼ, Griffithiana vol. 15 nos. 44‒45 (May‒
September 1992), pp. 28‒88.
Bernard, Youen, Les Petites maisons de production cinématographique française de 1906 à 1914 [filmographies of Le
Lion, Lux, Radios, Théophile Pathé, and Film des auteurs. Doctoral thesis presented at the University of Paris III, 1994].
Bousquet, Henri, Catalogue Pathé des années 1896 à 1914 (Bures-sur-Yvette: Éditions Henri Bousquet, 1996 [1896‒
1906], 1993 [1907‒9], 1994 [1910‒11], 1995 [1912‒14], 1999 [1915‒18], 2001 [1919‒22], 2004 [1923‒7]); online edition:
http:// filmographie.fondation-jeromeseydoux-pathe.com.
Loné, Éric, ʻLa Production Lux (1906‒1913)ʼ, 1895 no. 16 (June 1994), pp. 59‒76.
Chirat, Raymond (with the collaboration of Éric Le Roy), Catalogue des films français de fiction de 1908 à 1918 (Paris:Cinémathèque française, 1995).
Malthête-Méliès, Madeleine, Analyse descriptive des films de Georges Méliès rassemblés entre 1981 et 1996 par laCinémathèque Méliès (Paris: Les Amis de Georges Méliès, 1996).
Aubert, Michelle, and Jean-Claude Seguin (eds.), La Production cinématographique des frères Lumière (Paris: Éditions
Mémoires de cinéma/ Bibliothèque du Film [BIFI]/Centre National de la Cinématographie/Premier siècle du cinéma,
1996; book plus CD-Rom).
ドイツ
Lamprecht, Gerhard, Deutsche Stummfilme, 1903‒1931 (Berlin: Stiftung Deutsche Kinematek, 1967‒1970, 10 vols.).
Birett, Herbert, Verzeichnis in Deutschland gelaufener Filme. Entscheidungen der Filmzensur 1911‒1920,
Berlin/Hamburg/Munich/Stuttgart (Munich: Saur, 1980).
Bock, Hans-Michael (ed.), CineGraph ‒ Lexikon zum deutschsprachigen Film (Munich: edition text+kritik, 1984 ff.).
Birett, Herbert, Das Filmangebot in Deutschland, 1895‒1911 (Munich: Filmbuchverlag Winterberg, 1991).
英国
Gifford, Denis, The British Film Catalogue. Vol. 1: Fiction Film, 1895‒1994; Vol. 2: Non-Fiction Film, 1888‒1994 (London
and Chicago: Fitzroy Dearborn, 2001).
Gifford, Denis, British Animated Films, 1895‒1985. A Filmography (Jefferson, NC: McFarland, 1987).
グアテマラ
中⽶を参照のこと
オーストリア=ハンガリー帝国(1918 年まで)とハンガリー(1918 年以降)のハンガリー諸国
Kovács, Ferenc (ed.), Magyar filmográfia, 1901‒1961 (Budapest: Magyar Filmtudományi Intézet és Filmarchivum, 1963).

79

インド
Rangoonwalla, Firoze, Indian Filmography: Silent and Hindi Films, 1897‒1969 (Bombay: J. Udeshi, 1970).
Dharamsey, Virchand, ʻFilmography: Indian Silent Cinema, 1912‒1934ʼ, in Suresh Chabria (ed.), Light of Asia. Indian
Silent Cinema, 1912‒1934 (Pordenone and New Delhi: Le Giornate del Cinema Muto/Wiley Eastern Ltd, 1994), pp. 72‒
235; revised and expanded edition (New Delhi: Niyogi Books, 2013), pp. 127‒319.
アイルランドとアイルランド⾃由国
Rockett, Kevin (ed.), The Irish Filmography: Fiction Films, 1896‒1996 (Dublin: Red Mountain Press, 1996).
イタリア

Elenco delle Pellicole Cinematografiche approvate dal Ministero dellʼInterno (monthly bulletin of released films, issued by
the Italian government from 1913 to 1925).
Bernardini, Aldo (ed.), Archivio del cinema italiano. Vol. I: Il cinema muto, 1905‒1931 (Rome: Edizioni Anica, 1991).
Martinelli, Vittorio, Il cinema muto italiano (Rome: Nuova ERI/Edizioni RAI/Centro Sperimentale di Cinematografia, 1996
[1905‒9; 1910], 1995 [1911, Part I], 1996 [1911, Part II]; special issues of Bianco & Nero, vol. 55, nos. 1‒2, 1994 [1912,
Part I]; vol. 55, nos. 3‒4, 1994 [1912, Part II]; vol. 54, nos. 1‒2, 1993 [1913, Part I]; vol. 54, nos. 3‒4, 1993 [1913, Part II];
vol. 53, nos. 1‒2 and 3‒4, 1992 [1914]; vol. 52, nos. 1‒2 and 3‒4, 1991 [1915]; vol. 51, nos. 1‒2 and 3‒4, 1990 [1916]; vol.
50, nos. 3‒4, 1989 [1917]; vol. 50, nos. 1‒2, 1989 [1918]; vol. 41, nos. 1‒3, 1980 [1919]; vol. 41, nos. 4‒6, 1980 [1920]; vol.
42, nos. 1‒3, 1981 [1921‒1922]; vol. 42, nos. 4‒6, 1981 [1923‒1931]).
Bernardini, Aldo (ed.), Cinema italiano delle origini. Gli ambulanti (Gemona: La Cineteca del Friuli, 2001).
Bernardini, Aldo (ed.), Cinema muto italiano. I film ʻdal veroʼ, 1895‒1914 (Gemona: La Cineteca del Friuli, 2002).
Bernardini, Aldo (ed.), Cinema delle origini in Italia. I film ʻdal veroʼ di produzione estera, 1895‒1907 (Gemona: La
Cineteca del Friuli, 2008).
⽇本
⽇本映画史研究会(編)『⽇本映画作品辞典 戦前篇』(1896‒1945/8). (東京: 科学書院, 1996, 全 5 巻, ⽇本で公開された外国映
画のフィルモグラフィを含む).
［ウェブサイト］
JMDB ⽇本映画データベース Japan Movie Database: www.jmdb.ne.jp
National Diet Library: http://www.ndl.go.jp/en/index.html
ラトビア
Redovičs, Agris, Latvijas kino, 1920‒1940. Iepazīšanās (Riga: Rīgas Kino muzejs, 1990).
メキシコ

80

Dávalos Orozco, Federico and Esperanza Vázquez Bernal, Filmografia general del cine mexicano, 1906‒1931(Puebla: Universidad Autónoma de Puebla, 1985).
de Los Reyes, Aurelio, Filmografia del cine mudo en México. Vol. 1: 1896‒1920 (Mexico, DF: Filmoteca de la Universidad
Nacional Autónoma de México, 1986); Vol. 2: 1920‒1924 (1994); Vol. 3, 1924‒1931 (2000).
Leal, Juan Felipe and Carlos Arturo Flores, Anales del cine en México, 1895‒1908 (Mexico: Ediciones y Gráficas
Eón/Voyeur, 2003‒2016, 20 vols.).
Amador, María Luisa and Jorge Ayala Blanco, Cartelera cinematográfica 1912‒1919; 1920‒1929 (Mexico: Centro
Universitario de Estudios Cinematográficos de la UNAM, 2009, 2 vols.).
オランダ
Donaldson, Geoffrey, Of Joy and Sorrow: A Filmography of Dutch Silent Fiction (Amsterdam: Stichting Nederlands
Filmmuseum, 1997).
ニュージーランド／アオテアロア

Aotearoa and the Sentimental Strine. Making Films in Australia and New Zealand in the Silent Period (Wellington: Moa
Films, 1993).
ノルウェー
Bech, Leif-Erik (ed.), Norsk Filmografi, 1908‒1979 (Oslo: Norsk kino-og Filmfond/Norsk Filminstitutt, 1980).
Hanche, Øivind (ed.), Register over Norske Langfilmer 1908‒1.4.1990 (Oslo: Norsk Filminstitutt, 1990).
オスマン帝国とトルコÖzgüc, Agah (ed.), Türk Filmleri Sözlügü, 1914‒1972 (Istanbul: Cahit Poyraz, 1963).
パレスチナ
Tryster, Hillel (ed.), Israel Before Israel: Silent Cinema in the Holy Land (Jerusalem: Steven Spielberg Jewish Film Archiveof the Avraham Harman Institute of Contemporary Jewry, Hebrew University of Jerusalem, 1995).
パナマ
中⽶を参照のこと
ペルー
Bedoya, Ricardo, Un cine reencontrado. Diccionario ilustrado de las películas peruanas (Lima: Universidad de Lima,
1997).
ポーランド
Bochenska, Jadswiga, and others (eds., compiled by Jerzy Toeplitz), Historia Filmu Polskiego. Vol. 1: 1895‒1921 [with afilmography of silent fiction films produced between 1911 and 1929] (Warsaw: Wydawnictwa Artystyczne i Filmowe,1966).

81

ポルトガルde Matos-Cruz, José, Prontuario do cinema portugues, 1896‒1989 (Lisbon: Cinemateca Portuguesa, 1989).
de Matos-Cruz, José, O cais do olhar. O cinema portugues de longa metrageme e a ficçao muda (Lisbon: Cinemateca
Portuguesa, 1999).
ルーマニア
Cantacuzino, Ion I. and Bujor T. Rîpeanu (eds.), Producția cinematografică din România, 1897‒1970. Filmografie
adnotată; Vol. I/1: Cinematograful mut (1897‒1930). Filmul de nonficţiune; Vol. II/1: Cinematograful mut (1897‒1930).
Filmul de ficţiune (Bucharest: Arhiva Națională de Filme, 1970).
ロシアとソビエト連邦
Vishnevskii, Veniamin, Khudozhestvennye filmy dorevoliutsionnoi Rossii. Filmograficheskoe opisanie: filmy do 1917 goda
(Moscow: Goskinoizdat, 1945).
Macheret, Aleksandr, Lev Parfionov, Odissei Iakubovich, and Mark Zak (eds.), Sovetskie khudozhestvennye filmy:
Annotirovannyi katalog. Vol. 1: Nemye filmy, 1918‒1935 (Moscow: Iskusstvo, 1961).
Vishnevskii, Veniamin, Dokumentalnye filmy dorevoliutsionnoi Rossii 1907‒1916 (Moscow: Muzei kino, 1996).
スペイン
González Lopez, Palmira and Joaquín T. Cánovas Belchi, Catálogo del cinema español. Vol. F2: Películas de ficción, 1921‒
1930 (Madrid: Filmoteca Española, 1993).
Ruiz Álvarez, Luis Enrique, El cine muto español en sus películas (Bilbao: Ediciones Mensajero, 2004).
Bello, José Antonio, Cine mudo español, 1896‒1920 (Barcelona: Laertes, 2010).
スウェーデン
Svensk filmografi (Stockholm: Svenska Filminstitutet, 1986 [Vol. 1: 1897‒1919], 1982 [Vol. 2: 1920‒1929], 1979 [Vol. 3:
1930‒1939]).
［ウェブサイト］
Swedish Film Database: http://www.sfi.se/en-GB/Swedish-film-database/
スイス
Buache, Freddy and Jacques Rial, Les Débuts du cinématographe à Genève et à Lausanne (Lausanne: Cinémathèquesuisse, 1964).
Dumont, Hervé, Histoire du cinéma suisse: films de fiction 1896‒1965 (Lausanne: Cinémathèque suisse, 1987).
Pithon, Rémy (ed.), Cinéma suisse muet. Lumières et ombres (Lausanne: Éditions Antipode/Cinémathèque suisse, 2002).

82

Zimmermann, Yvonne, Pierre-Emmanuel Jaques, Anita Gertiser, Schaufenster Schweiz. Dokumentarische Gebrauchs
filme 1896‒1964 (Zurich: Limmat Verlag, 2011).
トルコ
オスマン帝国とトルコを参照のこと
⽶国
Savada, Elias (ed.), The American Film Institute Catalog of Motion Pictures Produced in the United States. Vol. A: Film
Beginnings, 1893‒1910. A Work in Progress (Metuchen, NJ, and London: Scarecrow Press, 1995); Vol. F1: Feature Films,
1911‒1920 (Berkeley: University of California Press, 1988); Vol. F2: Feature Films, 1921‒1930 (New York: R.R. Bowker,1971). Note: the Film Beginnings volume includes foreign films distributed in the United States.
Lauritzen, Einar, and Gunnar Lundquist, American Film Index, 1908‒1915. Motion Pictures, July 1908‒December 1915;
American Film Index, 1916‒1920. Motion Pictures, January 1916‒December 1920 (Stockholm: Film Index, 1976‒1984).
Čáslavský, Karel, ʻAmerican Comedy Series: Filmographies, 1914‒1930ʼ, Griffithiana vol. 17 nos. 51‒52 (October 1994),
pp. 9‒168.
Spehr, Paul C., American Film Personnel and Company Credits, 1908‒1920: Filmographies Recorded by Authoritative
Organizational and Personal Names from Lauritzen and Lundquist (Jefferson, NC, and London: McFarland, 1996).

Catalog of Copyright Entries: Motion Pictures. Vol. 1: 1894‒1912; Vol. 2: 1912‒1939 (Washington, DC: Library ofCongress, Copyright Office, 1951‒1953).
［ウェブサイト］
AFI Catalog: https://catalog.afi.com/Catalog/Showcase
Early Cinema History Online (ECHO): echo.commarts.wisc.edu
ウルグアイ
Hintz, Eugenio and Graciela Dacosta, ʻFilmografia de largometrajesʼ, in Historia y filmografia del cine uruguayo(Montevideo: Ediciones de la Plaza, 1988), pp. 63‒84.
Torello, Georgina, La conquista del espacio. Cine silente uruguayo, 1915‒1932 (Montevideo: Editorial Yaugurú, 2018), pp.
223‒256.
ベネズエラ
Tirado, Ricardo, Memoria y notas del cine venezolano 1897‒1959 (s.l. [Caracas]: Fundación Neumann, n.d.).

第 12 章 複製 (pp. 309‒332)
Reilly, James M., Peter Z. Adelstein, and Douglas W. Nishimura, Preservation of Safety Film (Rochester, NY: Image
Permanence Institute, 1991).

83

Reilly, James M., Peter Z. Adelstein, Douglas W. Nishimura, and Catherine Erbland, New Approaches to Safety Film
Preservation (Rochester, NY: Image Permanence Institute, 1994).
Bigourdan, Jean-Louis and James M. Reilly, Environment and Enclosures in Film Preservation (Rochester, NY: Image
Permanence Institute, 1997).
Dekkers, Midas, De vergankelijkheid (Amsterdam and Antwerp: Contact, 1997); English translation, The Way of All Flesh(London: Harvill Press, 2001).

2 予算 (pp. 313‒314)
Gracy, Karen F., Film Preservation: Competing Definitions of Value, Use, and Practice (Chicago, IL: Society of American
Archivists, 2007).
Frick, Caroline, Saving Cinema: The Politics of Preservation (New York: Oxford University Press, 2010).
Jones, Janna, The Past Is a Moving Picture (Gainesville: University Press of Florida, 2012).
Dagna, Stella, Perché restaurare i film? (Pisa: ETS, 2014).

3 世代 (pp. 314‒318)
Malthête, Jacques, ʻUn nitrate composite en couleurs: Le Voyage dans la Lune de Georges Méliès, reconstitué en 1929ʼ,1895 no. 71 (Winter 2013), pp. 163‒181.

ドーソンシティ・コレクション (pp. 316‒317)
Kula, Sam, ʻThereʼs Film in Them Thar Hills!ʼ, American Film vol. 4 no. 8 (July‒August 1979), pp. 14‒18.
Weschler, Lawrence, ʻThe Discovery, and Remarkable Recovery, of the King Tutʼs Tomb of Silent-Era Cinemaʼ, Vanity Fair
(14 September 2016): http://www.vanityfair.com/hollywood/2016/09/the-discovery-andrecovery-of-the-king-tuts-tombof-silent-era-cinema.
［映画作品］

Dawson City: Frozen Time (Bill Morrison, Hypnotic Pictures/Picture Palace Pictures/Arte France/La Lucarne, US 2016,120ʼ).

6 プリント (pp. 325‒328)
Sargent, Ralph N., Preserving the Moving Image (Washington, DC: Corporation for Public Broadcasting/National
Endowment for the Arts, 1974).

Guide de la conservation des films (Paris: Commission Supérieure Technique de lʼImage et du Son, 1995).
Surowiec, Catherine A. (ed.), The Lumiere Project: The European Film Archives at the Crossroads (Lisbon: Associação
Projecto Lumiere, 1996).

84

McGreevey, Tom and Joanne L. Yeck, Our Film Heritage (New Brunswick, NJ, and London: Rutgers University Press,
1997).
Meyer, Mark-Paul and Paul Read, Restoration of Motion Picture Film (Newton, MA: Butterworth-Heinemann, 2000).

The Film Preservation Guide (San Francisco, CA: National Film Preservation Foundation, 2004).
Enticknap, Leo, Film Restoration (Basingstoke, Hants., and New York: Palgrave, 2013).
Marie, Michel and André Habib (eds.), LʼAvenir de la mémoire. Patrimoine, restauration et réemploi cinématographiques(Villeneuve dʼAscq: Presses Universitaires du Septentrion, 2013).
Cioccolo, Anthony, Moving Image and Sound Collections for Archivists (Chicago, IL: Society of American Archivists, 2017).
Gauthier, Christophe (ed.), Patrimoine et patrimonialisation du cinéma (Paris: École des chartes, 2020).
［ジャーナル］

Journal of Film Preservation (ISSN 1609-2694).

7 染料 (pp. 328‒332)
Currò, Daniela and Ulrich Ruedel, ʻThe Restoration of Colorʼ, in Sarah Street, Simon Brown, and Liz Watkins (eds.), Colorand the Moving Image (London and New York: Routledge [AFI Film Reader Series; Edward Braningan and Charles Woolf,eds.], 2012).

映画保存に関する映画作品、ビデオ作品、ボーンデジタル作品
Forgotten Treasure (Sammy Lee, Loewʼs Incorporated/Metro-Goldwyn-Mayer, US 1943, 10ʼ).
The Work of a Film Archive (Orly Yadin, Flashback Television Ltd, UK 1992, 27ʼ 13”).
Sauver les films. Une mémoire pour demain (Jacques Mény, Sodaperaga/Centre National de laCinématographie/Ministère de la Culture et de la Communication, France 1991, 33ʼ).

À la recherche des films perdus (Jacques Mény, Oneline Productions/La Sept/ARTE, France 1996, 75ʼ).
La Mémoire retrouvée (Jacques Mény, Oneline Productions/La Sept/ARTE, France 1996, 63ʼ).
The Race to Save 100 Years (Scott Benson, Warner Bros./ Turner Entertainment, US 1997, 55ʼ 57”).
Keepers of the Frame (Mark McLaughlin, WinStar Cinema/Mount Pilot Productions, US 1999, 70ʼ).
These Amazing Shadows (Paul Mariano and Kurt Norton, Gravitas Docufilms, US 2011, 88ʼ).
Film. The Living Record of Our Memory (Inés Toharia, El Grifilm Productions/Filmoption International, Spain/Canada
2021, 119ʼ).

85

第 13 章 ⽋落 (pp. 333‒356)
1 原則 (pp. 335‒339)
Bowser, Eileen, ʻSome Principles of Film Restorationʼ, Griffithiana vol. 11 nos. 38‒39 (October 1990),
pp. 170‒173.

3 ハイブリッド (pp. 342‒344)
Wengström, Jon, ʻReport from the Nordic Archive Meeting in Tromsøʼ, Journal of Film Preservation no. 72, November
2006, pp. 81‒86.
Read, Paul, ʻHollywoodʼs Proposals for Digital Cinema, Digital Projection of Heritage Film Content at Original Frame
Ratesʼ, Journal of Film Preservation no. 74‒75, November 2007, pp. 61‒70.
Sætervadet, Torkell, ʻD-Cinema Equipment Frequently Asked Questionsʼ (16 April 2012),
https://www.fiafnet.org/images/tinyUpload/E-Resources/Commission-And-PIP-Resources/TC_resources/DCinema%20FAQs%20release%20FIAF%202012%20V1.1.pdf
Catanese, Rossella, Lacune binarie. Il restauro dei film e le tecnologie digitali (Rome: Bulzoni, 2013).
Mazzanti, Nicola, ʻSilent Frame Rates and DCPʼ, http://www.davidbordwell.net/blog (23 October 2015).
Flueckiger, Barbara, Franziska Heller, Claudy Op den Kamp, and David Pfluger, ʻ“Digital Desmet”: Translating Early
Applied Colorsʼ, The Moving Image vol. 16 no. 1 (Spring 2016), pp. 106‒124.
Plutino, Alice, Tecniche di restauro cinematografico. Metodi e pratiche tra analogico e digitale (Rome: Dino Audino
Editore, 2020).
FIAF Technical Commission, “The Digital Statement, Part II. Scanning for Preservation”, Journal of Film Preservation, no.
108 (April 2023), pp. 19-31.
［ウェブサイト］

The Digital Statement. Recommendations for digitization, restoration, digital preservation and access:https://www.fiafnet.org/pages/E-Resources/Digital-Statement.html
Byrne, Robert, Caroline Fournier, Anne Gant, and Ulrich Ruedel, The Digital Statement, Part III: Image Restoration,
Manipulation, Treatment, and Ethics:
https://www.fiafnet.org/pages/E-Resources/Digital-Statement-part-III.html

4 トランスレーション (pp. 344‒347)
Price, Nicholas Stanley, M. Kirby Talley Jr, and Alessandra Melucco Vaccaro (eds.), Historical and Philosophical Issues in
the Conservation of Cultural Heritage (Los Angeles, CA: Getty Conservation Institute, 1996).
Dupré la Tour, Claire, ʻLa Restauration des intertitres: pratiques et enjeuxʼ, CinémAction no. 97 (2000), pp. 178‒185.

86

6 フィクション (pp. 349‒353)
ʻLe Voyage dans la Lune: Open Forumʼ, Journal of Film Preservation vol. 87 (October 2012), pp. 7‒22.
Brandi, Cesare, Teoria del restauro (Rome: Edizioni di Storia e Letteratura, 1963; reprint, Turin: Einaudi, 1977); English
translation, Theory of Restoration (Florence: Nardini Editore/Istituto Centrale per il Restauro e la Conservazione delPatrimonio Archivistico e Librario, 2005).
Bonnard, Martin, ʻMélièsʼs Voyage Restoration: or, The Risk of Being Stuck in the Digital Reconstructionʼ, The Moving
Image vol. 16 no. 1 (Spring 2016), pp. 139‒147.
de Pastre, Béatrice and Laurent Véray, ʻFaut-il manipuler les images du passé pour les transmettre?ʼ, Journal of Film
Preservation no. 95 (October 2016), pp. 37‒43.

7 ターミノロジー (pp. 353‒356)
Ledig, Elfriede (ed.), Der Stummfilm: Konstruktion und Rekonstruktion (Munich: Schaudig, 1988 [Diskurs Film. Münchner
Beitrage zur Filmphilologie, no. 2]).
Cosandey, Roland, ʻLʼÉdition des films restaurésʼ, in ʻLes Archives du cinéma et de la télévisionʼ, special issue of
CinémAction no. 97 (2000), pp. 199‒205.

第 14 章 痕跡 (pp. 357‒388)［ウェブサイト］
The Giornate Database: Silent Films Exhibited at the Pordenone Silent Film Festival Since 1982:
www.cinetecadelfriuli.org/gcm/ed_precedenti/screenings_db.html

1 リポジトリ (pp. 360‒364)
Hiller, John, ʻFilm History for the Public: The First National Movie Machine Collectionʼ, Film History vol. 11 no. 3 (1999),
pp. 371‒386.
Horak, Jan-Christopher, ʻThe Universal Studios Archives and Collections Departmentʼ, Historical Journal of Film, Radioand Television vol. 19, no. 3 (August 1999), pp. 405‒406.

2 出所 (pp. 364‒367)
Adams, Frederick B., The Uses of Provenance (Berkeley: School of Librarianship, University of California, 1969).
Abukhanfusa, Kerstin and Jan Sydbeck (eds.), The Principle of Provenance: Report from the First Stockholm Conferenceon Archival Theory and the Principle of Provenance, 2‒3 September 1993 (Stockholm: Swedish National Archives, 1994).

87

Uhl, Bodo, ʻThe Significance of the Principle of Provenance for Archival Science and Historical Researchʼ, Archivalische
Zeitschrift vol. 84 no. 1 (2001), pp. 91‒122.
Feigenbaum, Gail and Inge Reist (eds.), Provenance: An Alternate History of Art (Los Angeles, CA: Getty ResearchInstitute, 2013).
Douglas, Jennifer, ʻOrigins: Evolving Ideas about the Principle of Provenanceʼ, in Terry Eastwood and Heather MacNeil(eds.), Currents of Archival Thinking (s.l.: Praeger Publishers, 2016, 2nd edition), pp. 23‒43.
Bernardi, Joanne, Paolo Cherchi Usai, Tami Williams and Joshua Yumibe (eds.), Provenance and Early Cinema(Bloomington: Indiana University Press, 2020).

4 五感 (pp. 369‒373)
Farge, Arlette, Le Goût de lʼarchive (Paris: Seuil, 1989); English translation, The Allure of the Archives (New Haven, CT:
Yale University Press, 2013).

5 実践 (pp. 373‒376)
Nuffer, Eberhard, Filmschnitt und Schneidetisch. Theine Zeitreise durch die Klassische Montagetechnologie (Potsdam:
Polzer Media Group GmbH, 2003, 7th edition).

7 カット (pp. 378‒381)
Bottomore, Stephen, ʻShots in the Dark: The Real Origins of Film Editingʼ, Sight & Sound vol. 57 no. 3 (Summer 1988), pp.
200‒204.

8 同定・識別 (pp. 381‒385)
Identification Marks Used in Substandard Motion Picture Cameras (Rochester: Ciné Kodak Processing Department,
Kodak Park, 1949); reproduced in Alan Kattelle, Home Movies. A History of the American Industry, 1897‒1979 (Nashua,
NH: Transition Publishing, 2000), pp. 369‒379.
Brown, Harold, Physical Characteristics of Early Films as Aids to Identification (Brussels: FIAF, 1990; revised andexpanded edition, 2020, edited by Camille Blot-Wellens).
Richard, Suzanne, ʻPathé, marque de fabrique: vers une nouvelle méthode pour la datation des copies anciennesʼ, 1895
no. 10 (1991), pp. 13‒27.
Lenk, Sabine, ʻInsight and Axioms: Harold G. Brown and the Identification of Early Filmsʼ, The Moving Image vol. 16 no. 1(Spring 2016), pp. 35‒56.
Blot-Wellens, Camille, ʻVie(s) de Jésus. Essai dʼidentification et de compréhensionʼ, Journal of Film Preservation no. 97(October 2017), pp. 17‒24.
Olsson, Ian, “Rooster Play. Pathé Frères and the Beginnings of In-Frame Trademarks”, The Moving Image, vol. 18 no. 2(Fall 2018), pp. 1‒47.

88

第 15 章 キュレーターシップ (pp. 389‒418)
Edmondson, Ray, ʻIs Film Archiving a Profession?ʼ, Film History vol. 7 no. 3 (Autumn 1995), pp. 245‒255.
Cherchi Usai, Paolo, David Francis, Alexander Horwath, and Michael Loebenstein, Film Curatorship: Archives, Museums,
and the Digital Marketplace (Vienna: Synema ‒ Gesellschaft für Film und Medien/Österreichisches Filmmuseum, 2008;
2nd edition, 2020).
Thompson, John M.A., Manual of Curatorship (London: Routledge, 2012, 2nd edition).
Bovier, François and Adeena Mey (eds.), Exhibiting the Moving Image: History Revisited (Zurich and Dijon: JRP
Ringier/Les presses du réel, 2015).
Williams, Tami (ed.), ʻEarly Cinema and the Archivesʼ, monograph issue of The Moving Image vol. 16 no. 1 (Spring 2016).
Lameris, Bregt L., Film Museum Practice and Film Historiography. The Case of the Nederlands Filmmuseum, 1946‒2000(Amsterdam: University of Amsterdam Press, 2017).
Edmondson, Ray, ʻIs Film Archiving a Profession Yet? A Reflection ‒ Twenty Years Onʼ, Synoptique vol. 6 no. 1 (2017), pp.
14‒22: http://synoptique.hybrid.concordia. ca/index.php/main/article/view/167/210.
Cherchi Usai, Paolo, ʻArchival Cinemaʼ, in Rob Stone, Paul Cooke, Stephanie Dennison, and Alex Marlow-Mann (eds.),
The Routledge Companion to World Cinema (London and New York: Routledge, 2018), pp. 426‒435.

1 説明責任 (pp. 391‒392)
Cherchi Usai, Paolo, Jon Wengström, and Elaine Burrows, ʻSuggested Template for a Collection Policyʼ, Journal of Film
Preservation no. 91 (October 2014), pp. 9‒11.
Edmondson, Ray, Audiovisual Archiving. Philosophy and Principles (Paris: UNESCO, 2016, 3rd edition).
De Klerk, Nico, Showing and Telling: Film Heritage Institutes and eir Performance of Public Accountability (Wilmington,
DE: Vernon Press, 2017).

2 選別 (pp. 392‒394)
Bowser, Eileen and John Kuiper, A Handbook for Film Archives (Brussels: FIAF, 1980; New York and London: Garland,1991).
Magliozzi, Ronald S., ʻFilm Archiving as a Profession: An Interview With Eileen Bowserʼ, The Moving Image vol. 3 no. 1(2003), pp. 132‒146.
Nikolaidou, Elli, Harrison King, and David Coley, ʻArchive Film Stores in the Global South: Can They Combine Film
Preservation With Sustainability?ʼ, Journal of Film Preservation no. 104 (April 2021), pp. 41‒47.

3 オーファン (pp. 394‒395)
89

Kofler, Birgit, Legal Questions Facing Audiovisual Archives (Paris: UNESCO, 1991).
Kramer, Edith, ʻShould a FIAF Archive Ask for Copyright Clearance Before Showing a Film?ʼ, Journal of Film Preservation
vol. 22 no. 47 (October 1993), pp. 51‒52.
Henry, Michael, ʻCopyright, Neighbouring Rights and Film Archivesʼ, Journal of Film Preservation vol. 23 no. 49 (October1994), pp. 2‒9.
Streible, Dan, ʻThe Role of Orphan Films in the 21st Century Archiveʼ, Cinema Journal vol. 46 no. 3 (Spring 2007), pp. 124‒
128.

6 テクノロジー (pp. 399‒402)
Christie, Ian, ʻToys, Instruments, Machines: Why the Hardware Mattersʼ, in James Lyons and John Plunkett (eds.),
Multimedia Histories. From the Magic Lantern to the Internet (Exeter: University of Exeter Press, 2007), pp. 3‒17.
Parth, Kerstin, Oliver Hanley, and Thomas Ballhausen (eds.), Works in Progress. Digital Film Restoration Within Archives(Vienna: Synema ‒ Gesellschaft für Film und Medien, 2013).
Hidalgo, Santiago (ed.), Technology and Film Scholarship: Experience, Study, Theory (Amsterdam: Amsterdam University
Press, 2017).
del Amo Garcìa, Alfonso, ʻQué aportan los soportes originales a la preservación cultural de la cinematografíaʼ, Journal ofFilm Preservation no. 103, October 2020, pp. 73‒83.

7 イベント (pp. 402‒405)
Film Mutilation and How to Prevent It (Rochester, NY: Eastman Kodak Company, 1924).
Causes of Damage to 35mm Release Prints (London: Kodak Limited/Motion Picture Film Division, n.d. [1952]).
Mannino-Patanè, Gaetano, Guida pratica per lʼoperatore cinematografico (Milan: Hoepli, 1961, 6th ed.).
Calzini, Mario, Il manuale dell'operatore di cabina: tutto quello che si deve conoscere e ricordare (s.l.: G.E.A. [Gestioni
Editoriali AGIS], 1996).
Cherchi Usai, Paolo, ʻPreserving Films Outside the Vaults: A Report on Projection, Shipping and Temporary Storage
Facilitiesʼ, Journal of Film Preservation no. 64 (April 2002), pp. 9‒15.
Macellari, Piero, and Enrico Gimondo, Corso per lʼoperatore cinematografico (Milan: Centro stampa dellʼAGIS lombarda,
2006).
Marini, Alessandro (ed.), Patentino di operatore cinematografico. Manuale per la preparazione dellʼesame (s.l.:
Proiezionisti on-line, n.d. [ca. 2009]).
Cherchi Usai, Paolo, Spencer Christiano, Catherine A. Surowiec, and Timothy J. Wagner (eds.), The Art of Film Projection(Rochester, NY: George Eastman Museum, 2019).

8 速度 (pp. 405‒408、pp. 227‒229 も参照のこと)
90Brownlow, Kevin, ʻSilent Films: What Was the Right Speed?ʼ, Sight & Sound vol. 49 no. 3 (March 1980), pp. 164‒167;
reproduced in Classic Images no. 108 (June 1984), pp. 52‒55.
Card, James, ʻSilent-Film Speedʼ, Image vol. 4 no.7 (October 1955), pp. 55‒56; reproduced in Marshall Deutelbaum (ed.),ʻImageʼ on the Art and Evolution of Film (New York and Rochester: Dover Publications Inc./George Eastman House,1979), pp. 145‒146.

9 ⾳楽 (pp. 408‒412)
Anderson, Gillian B., ʻThe Presentation of Silent Films, or Music as Anaesthesiaʼ, The Journal of Musicology no. 5 (1987),
pp. 257‒295.
Tieber, Claus and Anna Katharina Windisch, The Sounds of Silent Films: New Perspectives on History, Theory andPractice (Basingstoke, Hants.: Palgrave, 2014).
MacDonald, Scott, ʻ“The Film is Our Director: interview with Ken Winokur, Terry Donahue, and Roger Miller ‒ The Alloy
Orchestraʼ, Film History vol. 32 no. 2 (2020), pp. 121‒143.

10 映画祭 (pp. 412‒415)
Marlow-Mann, Alex (ed.), Archival Film Festivals (St Andrews: St Andrews Film Studies, 2013).
［ウェブサイト］
British Silent Film Festival: www.britishsilentfilmfestival.com
Le Giornate del Cinema Muto (Pordenone Silent Film Festival): http://www.cinetecadelfriuli.org/gcm/
San Francisco Silent Film Festival: www.silentfilm.org
Silent Cinema Society: www.silentcinemasociety.org
Silent Era: www.silentera.com
Slapstick Festival (formerly Bristol Silents): www.slapstick.org.uk

11 スペクテーター (pp. 415‒418)
Delage, Christian (ed.), Serge Daney. Itinéraire dʼun ciné-fils (Paris: Éditions Jean-Michel Place, 1999).
Horwath, Alexander, ʻThe Market vs. the Museumʼ, Journal of Film Preservation no. 70 (November 2005), pp. 5‒9.
Cherchi Usai, Paolo, ʻThe Lindgren Manifesto: The Film Curator of the Futureʼ, Journal of Film Preservation no. 84 (April2011), p. 4; revised version in Scott MacKenzie (ed.), Film Manifestos and Global Cinema Cultures (Berkeley, Los
Angeles, and London: University of California Press, 2014), pp. 558‒559.

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