Before the Nickelodeon

  Foreword
  Acknowledgments

 expand section1  Introduction
 expand section2  Porter's Early Years. 1870-1896
 expand section3  Edison and the Kinetoscope: 1888-1895
 expand section4  Cinema, a Screen Novelty: 1895-1897
 expand section5  Producer and Exhibitor as Co-Creators: 1897-1900
 expand section6  The Production Company Assumes Greater Control: 1900-1902
 expand section7  A Close Look at Life of an American Fireman: 1902-1903
 collapse section8  Story Films Become the Dominant Product: 1903-1904
 Disruptions
 Production Resumes at Edison
 Uncle Tom's Cabin
 Summer Fun
 The Great Train Robbery
 The Chase
 The Railway Subgenre: Spectator as Passenger
 Another Change in Personnel
 The Russo-Japanese War
 Dupes, Remakes, Copycatting, and Cheap Productions
 The French Threat: Pathé Enters the American Market
 George Kleine and the Edison Company Go Separate Ways
 Edison Versus Biograph: the Remaking of Personal
 The Legacy of Exhibitor-Dominated Cinema
 Parsifal
 expand section9  Articulating an Old-Middle-Class Ideology: 1904-1905
 expand section10  Elaborating on the Established Mode of Representation: 1905-1907
 expand section11  As Cinema Becomes Mass Entertainment, Porter Resists: 1907-1908
 expand section12  Edison Lets Porter Go: 1908-1909
 expand section13  Postscript

  Appendix A  Edison Manufacturing Company Statements of Profit and Loss: 1893-1911
  Appendix B  Kleine Optical Company Accounts
  Appendix C  Credits and Key To Quotations in the Documentary Film Before the Nickelodeon: the Early Cinema of Edwin S. Porter
 expand sectionNotes
  List of Abbreviations and Primary Sources
  Credits for Illustrations
 expand sectionSubject and Name Index
 expand sectionFilm Title Index

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