Eloquent Gestures
  Acknowledgments

 collapse section1—  Introduction
 •The Purpose of the Book
 •Related Works
 •Why Griffith? Why the Transitional Period?
 •The Plan of the Book
 collapse section2—  The Theatrical Heritage
 collapse sectionThe Histrionic Code
 •Limited Lexicon
 •Analogical Versus Digital Communication
 •Opposition
 •The Verisimilar Code
 collapse section3—  The Histrionic and Verisimilar Codes in the Biograph Films
 collapse sectionThe Histrionic Code
 •1—  Modified Tableau
 •2—  Everyday Activity
 •3—  Conversation
 •4—  Heightened Emotions and Action Scenes
 •5—  Gestural Soliloquies
 •The Verisimilar Code
 •The Code Shift
 collapse section4—  Performance Style and the Interaction of Signifying Practices
 •Theoretical Approach to the Interaction of Signifying Practices
 collapse sectionThe Interaction of Signifying Practices in the Biographs
 •1—  Introduction of the Characters
 •2—  Enoch's Departure
 •3—  Annie's Reaction to Enoch's Shipwreck
 •4—  Philip's Proposals
 •5—  Enoch's Locket
 •6—  The Histrionically Coded Enoch
 •7—  Enoch's Return Home
 collapse section5—  D. W. Griffith and the Biograph Company
 •Griffith's Theatrical Experiences
 •Griffith's Film Acting
 •Director Griffith
 •Griffith's Acting "Philosophy"
  6—  Henry B. Walthall
 collapse section7—  Trade Press Discourse
 •The Transformation in Performance Style as Reflected in Trade Press Discourse
 •Performance Style and the Debate over Cheap Amusements As Reflected in Trade Press Discourse
  8—  Conclusion

 collapse sectionNotes
 •1— Introduction
 •2— The Theatrical Heritage
 •3— The Histrionic and Verisimilar Codes in the Biograph Films
 •4— Performance Style and the Interaction of Signifying Practices
 •5— D. W. Griffith and the Biograph Company
 •6— Henry B. Walthall
 •7— Trade Press Discourse
 •8— Conclusion
  Bibliography
 collapse sectionIndex
 •A
 •B
 •C
 •D
 •E
 •F
 •G
 •H
 •I
 •J
 •K
 •L
 •M
 •N
 •O
 •P
 •Q
 •R
 •S
 •T
 •U
 •V
 •W
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